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

T-Meter Title | Year
1/4 57% Aladdin (2019) Guy Ritchie's live-action remake is content to trace the original's narrative beats with perfunctory indifference. - Slant Magazine EDIT
Read More | Posted May 22, 2019
2.5/4 88% Diamantino (2019) The film is at its strongest when depicting how Diamantino becomes a tool of politicians hoping to oust Portugal from the EU. - Slant Magazine EDIT
Read More | Posted May 17, 2019
2.5/4 87% Master Z: Ip Man Legacy (2019) The film is a reminder of the potential of these films before they became weighed down by blockbuster-ready excesses. - Slant Magazine EDIT
Read More | Posted Apr 7, 2019
3/4 75% Genèse (2018) Philippe Lesage's film understands that we submit ourselves to the perils of affection because of its outweighing graces. - Slant Magazine EDIT
Read More | Posted Mar 21, 2019
3/4 100% The Load (Teret) (2018) Ognjen Glavonic conveys the devastation and numbness that results from atrocity without resorting to exploitation. - Slant Magazine EDIT
Read More | Posted Mar 19, 2019
1.5/4 91% Gloria Bell (2019) The film's open-ended narrative tends to be undermined by the simplicity of its thematic signifiers. - Slant Magazine EDIT
Read More | Posted Mar 8, 2019
2.5/4 91% How to Train Your Dragon: The Hidden World (2019) The Hidden World doesn't lend itself as easily to the showstopping spectacle of its predecessors, but it remains noteworthy for its rumination on the subtler costs of these characters' newfound prosperity. - Slant Magazine EDIT
Read More | Posted Feb 21, 2019
2.5/4 60% Alita: Battle Angel (2019) The action boasts some of the most impressive choreography and sturdy, coherent direction to mark a giant-scale blockbuster in some time. - Slant Magazine EDIT
Read More | Posted Feb 1, 2019
.5/4 22% Miss Bala (2019) The Mexico of this film is merely a place of abject lawlessness, whose hellishness exists only to stoke our fascination for how the protagonist grows as a person by drawing on her inner strength. - Slant Magazine EDIT
Read More | Posted Jan 31, 2019
1/4 19% Serenity (2019) The film's twist ending exists only to retroactively justify writer-director Steven Knight's feeble stylistic choices. - Slant Magazine EDIT
Read More | Posted Jan 24, 2019
1/4 10% Replicas (2019) The climax's bizarre left turns culminate in a final image so bewildering that were the film not so relentlessly dour it might have clarified Replicas as an absurdist comedy. - Slant Magazine EDIT
Read More | Posted Jan 10, 2019
97% Spider-Man: Into the Spider-Verse (2018) Into the Spider-Verse is the best tribute to date to the seemingly bottomless depths and pleasures of Lee and Ditko's iconic comic book character. - Slant Magazine EDIT
Read More | Posted Dec 7, 2018
1.5/4 90% 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 EDIT
Read More | Posted Nov 2, 2018
1.5/4 32% 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 EDIT
Read More | Posted Oct 31, 2018
3/4 89% 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 EDIT
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 EDIT
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 EDIT
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 EDIT
Read More | Posted Oct 4, 2018
2/4 76% 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 EDIT
Read More | Posted Sep 24, 2018
3/4 96% 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 EDIT
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 EDIT
Read More | Posted Sep 19, 2018
3/4 59% Greta (2019) 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 EDIT
Read More | Posted Sep 17, 2018
3/4 78% 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 EDIT
Read More | Posted Sep 16, 2018
1/4 61% 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 EDIT
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 EDIT
Read More | Posted Sep 14, 2018
1.5/4 80% 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 EDIT
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 EDIT
Read More | Posted Sep 12, 2018
3/4 91% 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 EDIT
Read More | Posted Sep 10, 2018
1.5/4 65% 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 EDIT
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 EDIT
Read More | Posted Sep 9, 2018
2/4 89% Non-Fiction (2019) Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place. - Slant Magazine EDIT
Read More | Posted Sep 9, 2018
2.5/4 32% 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 EDIT
Read More | Posted Sep 7, 2018
1/4 31% 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 EDIT
Read More | Posted Aug 29, 2018
3/4 89% 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 EDIT
Read More | Posted Aug 27, 2018
95% Andrei Rublev (1973) It evinces a complex understanding of spirituality and faith that would inform all of Andrei Tarkovsky's subsequent films. - Slant Magazine EDIT
Read More | Posted Aug 21, 2018
1/4 22% 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 EDIT
Read More | Posted Aug 16, 2018
1.5/4 79% 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 EDIT
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 EDIT
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 EDIT
Read More | Posted Jul 18, 2018
1/4 11% 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 EDIT
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 EDIT
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 EDIT
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 EDIT
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 EDIT
Read More | Posted Apr 8, 2018
1/4 22% Submergence (2018) Submergence's globetrotting only succeeds at exposing the hollowness of the characters at the film's center. - Slant Magazine EDIT
Read More | Posted Apr 6, 2018
1.5/4 96% 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 EDIT
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 EDIT
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 EDIT
Read More | Posted Mar 21, 2018
1/4 52% 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 EDIT
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 EDIT
Read More | Posted Mar 7, 2018