Jake Cole Movie Reviews & Previews - Rotten Tomatoes

Jake Cole

Jake Cole
Jake Cole's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Film.com, Slant Magazine, Movie Mezzanine

Movie Reviews Only

Rating T-Meter Title | Year Review
1.5/4 86% A Private War (2018) A Private War ultimately sides with the late journalist's assertion that the whos and whys of war matter far less in journalism than finding the right human-interest angle to hook an audience.‐ Slant Magazine
Read More | Posted Nov 2, 2018
1.5/4 33% The Nutcracker and the Four Realms (2018) one may wish that the entire film had restaged the entirely of Tchaikovsky's ballet rather than reimagine it as an ultimately lifeless epic fantasy.‐ Slant Magazine
Read More | Posted Oct 31, 2018
3/4 88% Bodied (2018) The anti-P.C. scorn that establishes a white boy's nervous entry into rap gradually becomes a sincere, if hilarious, treatise on the impossibility of reducing art to value judgments.‐ Slant Magazine
Read More | Posted Oct 29, 2018
3.5/4 100% A Bread Factory, Part Two: Walk with Me a While (2018) Patrick Wang's particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles.‐ Slant Magazine
Read More | Posted Oct 24, 2018
3.5/4 100% A Bread Factory, Part One: For the Sake of Gold (2018) Patrick Wang's particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles.‐ Slant Magazine
Read More | Posted Oct 24, 2018
1/4 29% Venom (2018) The final act's full-tilt embrace of action effectively undermines Tom Hardy's flashes of actorly idiosyncrasy.‐ Slant Magazine
Read More | Posted Oct 4, 2018
2/4 79% Bad Reputation (2018) The documentary often struggles to extract deeper thoughts from its subject about her wild career as a pioneering rock feminist.‐ Slant Magazine
Read More | Posted Sep 24, 2018
3/4 99% Roma (2018) Roma is autobiography as autocritique, and in exploring a point of view adjacent to his own, Cuarón appears to have rediscovered his identity as a filmmaker.‐ Slant Magazine
Read More | Posted Sep 20, 2018
1/4 66% The House with a Clock in Its Walls (2018) The final act of The House with a Clock in Its Walls stumbles between awkward, telegraphed jolts and busy, effects-heavy action, completely losing sight of the trauma and grief that was meant to give the film its emotional core.‐ Slant Magazine
Read More | Posted Sep 19, 2018
3/4 71% Greta (2018) Neil Jordan's deft control of pace and tone elevates Greta past mere gimmickry, resulting in a comic thriller whose goofy humor only compounds its mastery of suspense.‐ Slant Magazine
Read More | Posted Sep 17, 2018
3/4 90% Green Book (2018) Peter Farrelly manages to respect the severity of the characters' social context while ensuring that Green Book never steps outside its protagonists' relationship. ‐ Slant Magazine
Read More | Posted Sep 16, 2018
1/4 86% Vox Lux (2018) Brady Corbet's Vox Lux offers up a concise image of a popstar in decline, but it's also an unmistakably stale one.‐ Slant Magazine
Read More | Posted Sep 16, 2018
1.5/4 81% Fahrenheit 11/9 (2018) Fahrenheit 11/9 represents a sincerely bold attempt to capture the overwhelming civic decay that led to our current political crisis, but Michel Moore's circus-showman duplicity is as crass and abhorrently self-promoting as that of Donald Trump.‐ Slant Magazine
Read More | Posted Sep 14, 2018
1.5/4 76% Mid90s (2018) The nihilistic rebelliousness of the film's teens is obviously indebted to Kids, but Jonah Hill cannot commit to Larry Clark's brand of defiant bleakness. ‐ Slant Magazine
Read More | Posted Sep 13, 2018
2.5/4 98% Can You Ever Forgive Me? (2018) The effortless and captivating rapport between Richard E. Grant and Melissa McCarthy offers deeper pleasures than the main plot of the film.‐ Slant Magazine
Read More | Posted Sep 12, 2018
3/4 93% Widows (2018) For all its flaws, Widows is McQueen's most fascinating, bracing feature to date, a demonstration of the filmmaker embracing his commercial instincts instead of trying to pass them off as weighty and important. ‐ Slant Magazine
Read More | Posted Sep 10, 2018
1.5/4 63% Peterloo (2019) Peterloo so simply recounts the details of its subject matter that its culminating horror unsettlingly feels like little more than a cathartic inevitability.‐ Slant Magazine
Read More | Posted Sep 10, 2018
1.5/4 58% White Boy Rick (2018) By treating its main character as exceptional, Yann Demange's film validates the punitive system it seeks to criticize.‐ Slant Magazine
Read More | Posted Sep 9, 2018
2/4 85% Non-Fiction (2018) Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.‐ Slant Magazine
Read More | Posted Sep 9, 2018
2.5/4 33% The Predator (2018) Even an act of noble sacrifice late in the film has a faintly goofy tone to it, reflective of Shane Black's streak of puckish nihilism, and that attitude makes him a perfect fit for this franchise.‐ Slant Magazine
Read More | Posted Sep 7, 2018
1/4 30% Kin (2018) Jonathan and Josh Baker's Kin, a feature that comprises little more than an extended introduction to its characters, resembles a TV pilot that's been released into theaters as a standalone property.‐ Slant Magazine
Read More | Posted Aug 29, 2018
3/4 88% Happy as Lazzaro (Lazzaro felice) (2018) Happy as Lazzaro is one of the sharper, and funnier, recent films to reckon with the injustices of class disparities.‐ Slant Magazine
Read More | Posted Aug 27, 2018
94% Andrei Rublev (1973) It evinces a complex understanding of spirituality and faith that would inform all of Andrei Tarkovsky's subsequent films.‐ Slant Magazine
Read More | Posted Aug 21, 2018
1/4 23% Mile 22 (2018) When Mark Wahlberg's Silva isn't wielding run-on sentences as military-grade weapons, he barks out derivative commands and asinine statements that make him sound like a 13-year-old playing Call of Duty.‐ Slant Magazine
Read More | Posted Aug 16, 2018
1.5/4 81% Alpha (2018) It reduces the domestication of wolves to a series of simplistic interactions that don't exactly convey the difficulties of a wild animal overcoming millennia of instinct.‐ Slant Magazine
Read More | Posted Aug 15, 2018
1.5/4 17% The Darkest Minds (2018) The Darkest Minds never communicates the overwhelming horror of a society whose children are either dead or in the process of being exterminated, or the hopelessness of kids discovering that every potential benefactor may have ulterior motives. ‐ Slant Magazine
Read More | Posted Aug 2, 2018
2.5/4 81% Mamma Mia! Here We Go Again (2018) It boasts such confident performances and choreography that it feels as much like a final draft of the 2008 film as a continuation of it.‐ Slant Magazine
Read More | Posted Jul 18, 2018
1/4 13% Siberia (2018) The film has the tone and look of a direct-to-video feature, and some shots of Keanu Reeves are so waxen that the actor almost looks rotoscoped.‐ Slant Magazine
Read More | Posted Jul 8, 2018
3/4 88% Ant-Man and the Wasp (2018) Ebulliently funny, visually inventive, and above all passionately committed to the idea that heroism isn't a burden but an uplifting realization of our best qualities.‐ Slant Magazine
Read More | Posted Jun 27, 2018
2/4 83% Deadpool 2 (2018) Deadpool 2 muddies the distinction between parodying comic-book-movie conventions and perfunctorily adhering to them. ‐ Slant Magazine
Read More | Posted May 14, 2018
1/4 21% Terminal (2018) Terminal's actors are awkward and stiff in trying to project hard-boiled cool, and all while delivering lines that sound as if they had been passed multiple times through an online translation tool.‐ Slant Magazine
Read More | Posted May 7, 2018
1.5/4 84% Borg Vs. McEnroe (2018) Even the depiction of how both men waver during the Wimbledon final, of Borg losing his cool while McEnroe avoids succumbing to petulance, fails to tie into the larger portrait of their rivalry.‐ Slant Magazine
Read More | Posted Apr 8, 2018
1/4 21% Submergence (2018) Submergence's globetrotting only succeeds at exposing the hollowness of the characters at the film's center. ‐ Slant Magazine
Read More | Posted Apr 6, 2018
1.5/4 95% Ava (2018) The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.‐ Slant Magazine
Read More | Posted Mar 28, 2018
3.5/4 100% Milla (2018) Valérie Massadian's Milla begins with a stylistic bait-and-switch that neatly summarizes the film's overall sense of formal balance. ‐ Slant Magazine
Read More | Posted Mar 26, 2018
2.5/4 44% Pacific Rim Uprising (2018) Steven S. DeKnight's film lacks for Guillermo del Toro's visual acumen, but it makes up for that with an energetic sense of chaos throughout its front-and-center skirmishes.‐ Slant Magazine
Read More | Posted Mar 21, 2018
1/4 51% Tomb Raider (2018) This isn't an adaptation of a video game so much as an adaptation of a video game's tutorial level.‐ Slant Magazine
Read More | Posted Mar 14, 2018
2/4 42% A Wrinkle in Time (2018) The film may involve the instant movement among unfathomable distances and the shattered limits of space and time, but it's only Storm Reid's character who feels multidimensional.‐ Slant Magazine
Read More | Posted Mar 7, 2018
2.5/4 96% The Death of Stalin (2018) Armando Iannucci satirizes the manner in which political power is accorded to those who can mask cutthroat ambition behind an outward projection of bland inoffensiveness.‐ Slant Magazine
Read More | Posted Mar 5, 2018
0/4 17% Death Wish (2018) At a time when Americans are constantly bombarded with reports of unpunished police brutality, the film suggests that the true problem with justice in our country is that law enforcement isn't violent enough.‐ Slant Magazine
Read More | Posted Mar 1, 2018
1.5/4 40% Justice League (2017) When the film's tone slides so firmly back into the murk, it's hard not to see DC's notion of heroism as borderline nihilistic.‐ Slant Magazine
Read More | Posted Nov 15, 2017
1/4 8% The Snowman (2017) The Snowman is missing so much basic connective tissue as to be rendered almost completely inexplicable.‐ Slant Magazine
Read More | Posted Oct 19, 2017
1.5/4 84% Darkest Hour (2017) There are many corridors that the film could have explored to flesh out the contradictions that informed its subject, but they're kept out of view, all the better to reinforce an image that's been solidly in place for 70 years.‐ Slant Magazine
Read More | Posted Oct 1, 2017
2/4 93% Thelma (2017) Thelma's transition into a paranormal thriller doesn't complicate its initially potent character study.‐ Slant Magazine
Read More | Posted Sep 23, 2017
.5/4 52% Kingsman: The Golden Circle (2017) The film is a parody of a parody that's so soulless that it makes its predecessor seem like a classic in retrospect.‐ Slant Magazine
Read More | Posted Sep 20, 2017
3/4 91% The Disaster Artist (2017) The Disaster Artist perfectly communicates the surreal hell of what the original production of The Room must have been like.‐ Slant Magazine
Read More | Posted Sep 16, 2017
3.5/4 91% Three Billboards Outside Ebbing, Missouri (2017) The film is the finest balance yet of Martin McDonagh's bleak sense of humor and offbeat moral sincerity.‐ Slant Magazine
Read More | Posted Sep 13, 2017
2/4 40% Mary Shelley (2018) In its final act, the film abandons its fruitful investigation of belief systems in favor of a simplistic articulation of Mary's inspiration. ‐ Slant Magazine
Read More | Posted Sep 11, 2017
1.5/4 82% Molly's Game (2018) Aaron Sorkin deep dives into self-parody from the opening moments of his directorial debut, Molly's Game.‐ Slant Magazine
Read More | Posted Sep 11, 2017
3.5/4 97% Mudbound (2017) As striking as the combat scenes are, they largely exist as setup for the postwar-set second half of the film, which scrutinizes the way that the atrocities witnessed in Europe laid bare the unsustainable hypocrisy in America's own bigoted divisions.‐ Slant Magazine
Read More | Posted Sep 7, 2017