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
2.5/4 96% The Rider (2017) 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 98% Call Me by Your Name (2017) 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 90% 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
90% 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
69% Claire's Camera (La caméra de Claire) (2017) 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
54% Redoubtable (Le redoutable) (2017) Michel Hazanavicius's co-opts Godard's personal life for cheap prestige-picture sentiment.‐ Slant Magazine
Read More | Posted May 22, 2017
92% Bright Sunshine In (Un beau soleil intérieur) (2017) 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
72% 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 62% Ismael's Ghosts (2017) 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 83% 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 72% 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 89% 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 82% 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
95% 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 92% 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 84% 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 89% 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
71% 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
82% 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
80% Personal Shopper (2017) For Assayas, the film represents a holding pattern similar to the one that Kristen Stewart's character can't escape from. ‐ Slant Magazine
Read More | Posted May 17, 2016
92% Toni Erdmann (2016) Maren Ade always possesses as fine an instinct for calibrating the emotions of her characters as any working director.‐ Slant Magazine
Read More | Posted May 16, 2016
96% Paterson (2016) There's a quietly revelatory virtue to Jarmusch's film in its resistance to disturb its subject's life, to adhere to any typical conventions of film drama. ‐ Slant Magazine
Read More | Posted May 16, 2016
3/4 90% Loving (2016) It finds little grooves of humanity to explore in its characters, and in its milieu, in between the expected plot beats.‐ Slant Magazine
Read More | Posted May 16, 2016
78% American Honey (2016) At maybe half or a quarter of the length, American Honey might've gotten by on this surface-level vision.‐ Slant Magazine
Read More | Posted May 15, 2016
62% Slack Bay (Ma loute) (2017) Cruelty here can feel pretty cheap, perhaps a result of Bruno Dumont not knowing how to effectively command comedy yet.‐ Slant Magazine
Read More | Posted May 13, 2016
2.5/4 48% X-Men: Apocalypse (2016) The issue with X-Men: Apocalypse is that Bryan Singer suggests so many possible directions to go in and still chooses the least interesting one.‐ Slant Magazine
Read More | Posted May 9, 2016
2/4 95% The Jungle Book (2016) Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, songs, and set pieces, but doesn't know how to fit these familiar elements into his own coherent vision.‐ Slant Magazine
Read More | Posted Apr 13, 2016
3/4 99% Cameraperson (2016) One gets the sense that power and meaning have been accumulated at a pace appropriately representative of Kirsten Johnson's own experiences.‐ Slant Magazine
Read More | Posted Mar 15, 2016
3/4 86% Kung Fu Panda 3 (2016) It finds a benefit in its genre affiliation, evenly distributing its action in quick bursts of fluidly animated fight choreography.‐ Slant Magazine
Read More | Posted Jan 25, 2016
2/4 78% Ip Man 3 (2016) Donnie Yen's performance is so good that it's a shame Wilson Yip's films have never strived to be more than briskly entertaining hagiography.‐ Slant Magazine
Read More | Posted Jan 19, 2016
2.5/4 93% Star Wars: Episode VII - The Force Awakens (2015) It exists less as a meaningful extension of its world than as a fan-service deployment device.‐ Slant Magazine
Read More | Posted Dec 16, 2015
3.5/4 81% Chi-Raq (2015) A Spike Lee joint in the urgent sociopolitical register of Radio Raheem's boombox--a call to arms that's also a call to disarm.‐ Slant Magazine
Read More | Posted Dec 1, 2015
2/4 80% Macbeth (2015) Throughout, director Justin Kurzel's stagey pretensions clash with each of his aesthetic choices. ‐ Slant Magazine
Read More | Posted Nov 30, 2015