Sam C. Mac Movie Reviews & Previews - Rotten Tomatoes

Sam C. Mac

Sam C. Mac
Sam C. Mac's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/4 100% Ash Is Purest White (2018) It's a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China.‐ Slant Magazine
Read More | Posted May 22, 2018
85% The Wild Pear Tree (Ahlat agaci) (2018) The Wild Pear Tree sees its maker in a kind of self-aware dialogue with himself about the methodologies of his work.‐ Slant Magazine
Read More | Posted May 20, 2018
69% Dogman (2018) Italian director Matteo Garrone's film offers up art-house-by-numbers neorealism with an angle of political-power allegory that quickly turns deterministic and tedious.‐ Slant Magazine
Read More | Posted May 20, 2018
29% Girls of the Sun (Les filles du soleil) (2018) Its most emotionally charged moments buckle under the weight of a ceaseless and manipulative score.‐ Slant Magazine
Read More | Posted May 20, 2018
94% Burning (Beoning) (2018) The film feels like Lee Chang-dong's most reflexive comment on the dramatic possibilities of his favored narrative form.‐ Slant Magazine
Read More | Posted May 18, 2018
3/4 96% BlacKkKlansman (2018) Spike Lee styles the film as a popular entertainment, forgoing the theatrical satire typical of his late-period state-of-the-nation joints, like Bamboozled and Chi-Raq, and settling into the accessible rhythms of the contemporary sitcom.‐ Slant Magazine
Read More | Posted May 17, 2018
4/4 52% The House That Jack Built (2018) The film becomes an even broader consideration of individual fascinations and follies, of ways of responding to art without the boundaries of morality and reason.‐ Slant Magazine
Read More | Posted May 16, 2018
84% Climax (2018) Gaspar Noé's relative narrative economy allows for Climax to feel like only a disappointing missed opportunity.‐ Slant Magazine
Read More | Posted May 14, 2018
3/4 76% The Image Book (Le livre d'image) (2018) The Image Book ends with another display of madness that would be a more than appropriate sendoff for the French New Wave figurehead's restless career. ‐ Slant Magazine
Read More | Posted May 13, 2018
3.5/4 100% Dead Souls (2018) It's the unification of perspective that gives Dead Souls its authority, and allows it to become an incisive reappropriation of collectivist solidarity.‐ Slant Magazine
Read More | Posted May 12, 2018
3/4 100% Cold War (Zimna wojna) (2018) The film is most exhilarating as a breathless vessel for mood, one that just so happens to conduct itself within reconstructed period settings that are as obsessively detailed as the reverently curated soundtrack.‐ Slant Magazine
Read More | Posted May 11, 2018
81% Sorry Angel (Plaire, aimer et courir vite) (2018) Christophe Honoré's playful pop instincts are on display throughout the film in short, affecting bursts.‐ Slant Magazine
Read More | Posted May 10, 2018
59% Summer (Leto) (2018) Russian director Kirill Serebrennikov's film turns Leningrad's early-'80s rock boom into a winking 24 Hour Party People-like doodle.‐ Slant Magazine
Read More | Posted May 10, 2018
50% Yomeddine (2018) The way everything just "works out" in the end for the characters on the strength of just their pluck and perseverance makes the film secretly more conservative than it thinks it is.‐ Slant Magazine
Read More | Posted May 10, 2018
2.5/4 48% Everybody Knows (Todos lo saben) (2018) Too much of Everybody Knows telegraphs a mechanical, deterministic logic that negates the film's more emotionally combustible energy.‐ Slant Magazine
Read More | Posted May 9, 2018
3/4 88% MATANGI/MAYA/M.I.A. (2018) Stephen Loveridge fully understands that even the trifurcated title of his film may not be entirely equipped at capturing the extent of M.I.A.'s many-faceted identity.‐ Slant Magazine
Read More | Posted Mar 20, 2018
2.5/4 91% Star Wars: The Last Jedi (2017) For those hoping that there may have been a substantial uptick in quality between J.J. Abrams's The Force Awakens and Rian Johnson's The Last Jedi-in much the same way that The Empire Strikes Back improved on Star Wars-you may need a new hope. ‐ Slant Magazine
Read More | Posted Dec 12, 2017
2.5/4 97% The Rider (2018) It manifests a mounting sense of disillusionment, suggesting that the rodeo lifestyle many characters so unreservedly romanticize often leads to physical and psychological ruin.‐ Slant Magazine
Read More | Posted Oct 10, 2017
3/4 95% Call Me by Your Name (2018) Call Me by Your Name is a fairly straightforward coming-of-age story that's at its finest in moments when the relationships take on larger meanings than their literal context implies, and Luca Guadagnino finds evocative aesthetic expressions for them. ‐ Slant Magazine
Read More | Posted Oct 3, 2017
1/4 91% A Ghost Story (2017) An empty exercise in imitative long-take aestheticism, A Ghost Story fills its distractingly round-cornered frame with endless repetitions on a visual gag. ‐ Slant Magazine
Read More | Posted Jul 2, 2017
98% BPM (Beats Per Minute) (120 battements par minute) (2017) It offers not only compelling social-realist ideas on its surface, but finds visually evocative ways to express them.‐ Slant Magazine
Read More | Posted May 26, 2017
92% Good Time (2017) The film is at its strongest when it keys its intoxicating aesthetic to Robert Pattinson's performance.‐ Slant Magazine
Read More | Posted May 25, 2017
89% Claire's Camera (La caméra de Claire) (2018) The breezy Claire's Camera isn't only charming and funny, but also one of Hong's most formally intuitive and sharply written films in some time.‐ Slant Magazine
Read More | Posted May 25, 2017
1/4 55% Godard Mon Amour (Le redoutable) (2018) Michel Hazanavicius co-opts Godard's personal life for cheap prestige-picture sentiment.‐ Slant Magazine
Read More | Posted May 22, 2017
86% Let the Sunshine In (Un beau soleil intérieur) (2018) Claire Denis's Let the Sunshine In is an exquisite romantic comedy whose laughs are sad and whose sadness is funny. ‐ Slant Magazine
Read More | Posted May 19, 2017
86% Okja (2017) Okja suggests that the sarcastic humor of Bong Joon-ho's best films doesn't translate well.‐ Slant Magazine
Read More | Posted May 19, 2017
67% Wonderstruck (2017) The meticulousness of Todd Haynes's execution overburdens his work's conceptually exhilarating sense of wonder.‐ Slant Magazine
Read More | Posted May 19, 2017
3/4 52% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) Arnaud Desplechin's latest simultaneously collapses and expands his entire body of work, reflexively revealing its many layers, like a pop-up book.‐ Slant Magazine
Read More | Posted May 18, 2017
3/4 81% Tom of Finland (2017) Dome Karukoski often excels at elevating his linear, historically conscious plotting with more abstract symbolism and ellipsis.‐ Slant Magazine
Read More | Posted May 11, 2017
2/4 45% Paris Can Wait (Bonjour Anne) (2017) The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.‐ Slant Magazine
Read More | Posted May 7, 2017
1/4 74% Sleight (2017) Sleight never shows much interest in exploring how blackness can inform its genre's tropes.‐ Slant Magazine
Read More | Posted Apr 24, 2017
1.5/4 83% Disneynature Born In China (2017) It's neatly organized around not only the changing of the seasons, but a Disney-branded circle-of-life ethos.‐ Slant Magazine
Read More | Posted Apr 10, 2017
1/4 90% Lady Macbeth (2017) Lady Macbeth eventually turns into a meaningless, mean-spirited, and proudly irredeemable non-character study.‐ Slant Magazine
Read More | Posted Mar 15, 2017
2/4 85% Beach Rats (2017) Beach Rats is most compelling when it puts a self-aware focus on Harris Dickinson's sculpted male figure.‐ Slant Magazine
Read More | Posted Mar 13, 2017
100% Strong Island (2017) The film builds, out of an outlet for discussing the tragedy of one family, into an emotionally, intellectually, and aesthetically complex work of essay and memoir.‐ Slant Magazine
Read More | Posted Mar 10, 2017
2.5/4 85% Rogue One: A Star Wars Story (2016) Rogue One is less the fetish object that The Force Awakens is because it at least has the ambitions to create its own character dynamics and plot routes rather than coast on existing ones. ‐ Slant Magazine
Read More | Posted Dec 13, 2016
94% The Red Turtle (La tortue rouge) (2017) Add The Red Turtle to the growing stack of largely disappointing films from Ghibli's new generation of untested directors.‐ Slant Magazine
Read More | Posted Nov 21, 2016
67% Voyage of Time: Life's Journey (2016) The elusive and suddenly quite prolific Terrence Malick is fascinated, and beguiled, by nothing less than the legacy of all existence in his long-gestating, avant-nature doc.‐ Slant Magazine
Read More | Posted Nov 21, 2016
2.5/4 94% Arrival (2016) The film's searching images counterpoint the hyper-articulate methodology of its characters' sense of imbalance and uncertainty.‐ Slant Magazine
Read More | Posted Nov 8, 2016
3.5/4 93% Yourself and Yours (2016) Yourself and Yours's commitment to its various extreme ambiguities is a crucial facet of the film's success.‐ Slant Magazine
Read More | Posted Oct 7, 2016
2/4 93% I, Daniel Blake (2017) It's pock-marked by the conservative dramatic conventions and overt political gestures that have marred much of Ken Loach's recent output.‐ Slant Magazine
Read More | Posted Sep 28, 2016
2.5/4 98% Moonlight (2016) What tends to right Moonlight, even when Barry Jenkins's filmmaking drifts into indulgence, is the strength of its actors.‐ Slant Magazine
Read More | Posted Sep 23, 2016
3/4 59% The Light Between Oceans (2016) Derek Cianfrance's film is a beautifully sustained study in adult themes of emotional crisis.‐ Slant Magazine
Read More | Posted Aug 30, 2016
2.5/4 85% Star Trek Beyond (2016) Stark Trek Beyond emphasizes the inter-personal dynamics of the USS Enterprise, and functions best as an extended team-building exercise.‐ Slant Magazine
Read More | Posted Jul 21, 2016
1.5/4 88% The Childhood of a Leader (2016) Brady Corbet reaches for a dreary self-importance akin to Michael Haneke's The White Ribbon. ‐ Slant Magazine
Read More | Posted Jul 19, 2016
70% The Unknown Girl (La fille inconnue) (2017) For the Dardennes, this is typical moral-message territory, which they approach too deliberately.‐ Slant Magazine
Read More | Posted May 20, 2016
2/4 57% The Neon Demon (2016) The simmering insinuations of Nicolas Winding Refn's film eventually flower into full-on exploitation.‐ Slant Magazine
Read More | Posted May 20, 2016
44% It's Only the End of the World (Juste la fin du monde) (2016) Xavier Dolan adapts a talky play into something that could feasibly have the same emotional effect as a silent film.‐ Slant Magazine
Read More | Posted May 19, 2016
97% Aquarius (2016) Kleber Mendonça Filho's message in Aquarius is for a Brazil to recognize the strength and power of its heritage.‐ Slant Magazine
Read More | Posted May 18, 2016
83% Julieta (2016) For Almodóvar, the film represents a holding pattern similar to the ones that his characters can't escape from. ‐ Slant Magazine
Read More | Posted May 17, 2016