Steven Scaife

Steven Scaife
Steven Scaife's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s): Slant Magazine The Verge
Publications: Slant Magazine, The Verge

Movie Reviews Only

T-Meter Title | Year
1/4 34% Mainstream (2021) The film has the knowing swagger of something on the cutting edge but none of the self-awareness to realize it's late to the party. - Slant Magazine EDIT
Read More | Posted May 4, 2021
2/4 85% Jakob's Wife (2021) Travis Stevens is psychologically astute, until it gives itself over to turning subtext into extremely legible text. - Slant Magazine EDIT
Read More | Posted Apr 10, 2021
3/4 88% Violation (2021) Violation impressively pushes against the typically straightforward trajectory of the rape-revenge film. - Slant Magazine EDIT
Read More | Posted Apr 2, 2021
1/4 42% Boogie (2021) The film's characters hardly possess a sense of a history or an interior life to adequately convey racism's psychic toll. - Slant Magazine EDIT
Read More | Posted Mar 3, 2021
2/4 30% Earwig and the Witch (2021) The problem with Earwig and the Witch has more to do with its confused plotting than its more or less serviceable animation. - Slant Magazine EDIT
Read More | Posted Feb 1, 2021
3.5/4 100% Identifying Features (Sin Señas Particulares) (2021) The film is as much about the act of seeing and observing as it is about not seeing, about struggling to recognize that which might not clarify much at all. - Slant Magazine EDIT
Read More | Posted Jan 19, 2021
2/4 60% Hunted (2020) Hunted intends to make a show of our desensitization to predator-prey relationships, but the greater purpose of its self-awareness never quite comes into clear focus. - Slant Magazine EDIT
Read More | Posted Jan 11, 2021
2.5/4 77% Shadow in the Cloud (2021) Roseanne Liang leverages the absolute implausibility of the film's later scenes into something brisk and exciting right to the very end. - Slant Magazine EDIT
Read More | Posted Dec 30, 2020
1.5/4 28% Jiu Jitsu (2020) Nicolas Cage's amusing turn as a kooky hermit with an affinity for newspaper hats often feels awkwardly spliced into the film. - Slant Magazine EDIT
Read More | Posted Nov 16, 2020
2/4 61% Nocturne (2020) Nocturne is a reminder that the notes themselves are just as important as how you play them. - Slant Magazine EDIT
Read More | Posted Oct 12, 2020
1.5/4 57% Random Acts of Violence (2020) For all of its ostensible thoughtfulness, in trying to describe "real art," Random Acts of Violence ultimately doesn't describe anything at all. - Slant Magazine EDIT
Read More | Posted Aug 17, 2020
3/4 93% Song Without a Name (Canción sin nombre) (2020) The film is strikingly fixated on exploring loss and pain on an intimate and personal scale. - Slant Magazine EDIT
Read More | Posted Aug 3, 2020
2.5/4 92% Relic (2020) The film heralds the arrival a bold and formidable voice in horror cinema. - Slant Magazine EDIT
Read More | Posted Jul 7, 2020
3.5/4 96% The Wolf House (La casa lobo) (2018) The film's animation leans into its most jerky, artificial qualities, all the better to enhance the atmosphere of bizarre unreality. - Slant Magazine EDIT
Read More | Posted May 11, 2020
3/4 93% Bad Education (2019) Rather than a simplistic, straightforward parable of greed, the film depicts its true events with a surprising amount of depth and ambiguity. - Slant Magazine EDIT
Read More | Posted Apr 20, 2020
3/4 86% Selah and the Spades (2020) Through its exploration of Selah's complexities, as well as the bravado and posturing that comes with being a credible drug dealer, Selah and the Spades locates a larger truth about the presentation of self and maintaining one's image. - Slant Magazine EDIT
Read More | Posted Apr 15, 2020
1/4 69% We Summon the Darkness (2020) The film's cat-and-mouse antics play out with no sense of escalation or invention. - Slant Magazine EDIT
Read More | Posted Apr 6, 2020
2/4 68% Stargirl (2020) It comes across like yet another casualty in the long line of stories about men having their eyes opened by their angelic girlfriends. - Slant Magazine EDIT
Read More | Posted Mar 9, 2020
2.5/4 85% Big Time Adolescence (2020) The film is at its weakest when it has to do drama, since the fallout of Mo and Zeke's actions feels perfunctory and tossed-off in the rush to an ending, a hasty come-down after the proverbial party. - Slant Magazine EDIT
Read More | Posted Mar 8, 2020
1.5/4 51% Guns Akimbo (2020) Writer-director Jason Lei Howden's humor might have been tolerable if his film was at least reasonably imaginative. - Slant Magazine EDIT
Read More | Posted Feb 24, 2020
1/4 21% The Grudge (2020) Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new. - Slant Magazine EDIT
Read More | Posted Jan 3, 2020
1.5/4 69% Knives and Skin (2019) The film gets so lost in its affected idiosyncrasies that it stops probing any discernible human feelings. - Slant Magazine EDIT
Read More | Posted Dec 1, 2019
2/4 68% White Snake (2019) The film feels more like a smattering of action scenes strung together by the barest thread of plot. - Slant Magazine EDIT
Read More | Posted Nov 22, 2019
3/4 96% I Lost My Body (2019) It focuses equally on moments of shared connection and incidental loss until the two feel indistinguishable. - Slant Magazine EDIT
Read More | Posted Nov 9, 2019
3/4 94% Klaus (2019) Sergio Pablos's film is essentially a metaphor for its own unique and refreshing mode of expression. - Slant Magazine EDIT
Read More | Posted Nov 5, 2019
2/4 63% Paradise Hills (2019) Alice Waddington's sci-fi fantasy never finds a cohesive story wrapper for its themes. - Slant Magazine EDIT
Read More | Posted Oct 24, 2019
2/4 84% Girl on the Third Floor (2019) The film is loud and obvious about declaring its themes, as if to distract from their ultimate shallowness. - Slant Magazine EDIT
Read More | Posted Oct 22, 2019
1.5/4 68% Zombieland: Double Tap (2019) The film effortlessly operates in the same groove as the original, but that's less a compliment than a measure of a failure to evolve. - Slant Magazine EDIT
Read More | Posted Oct 16, 2019
3/4 81% Greener Grass (2019) In the film's world, there can be no real resistance, as the suburbs have already won. - Slant Magazine EDIT
Read More | Posted Oct 11, 2019
2/4 64% The Day Shall Come (2019) The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude. - Slant Magazine EDIT
Read More | Posted Sep 25, 2019
2.5/4 97% Promare (2019) Promare often feels like a maximalist season finale trimmed of any build-up, a climax that's outstanding to watch yet empty beyond its pure spectacle. - Slant Magazine EDIT
Read More | Posted Sep 17, 2019
3.5/4 84% Depraved (2019) Larry Fessenden diagnoses the rot of our era through the shifting personalities and power dynamics of solipsistic men. - Slant Magazine EDIT
Read More | Posted Sep 9, 2019
2/4 86% Ms. Purple (2019) Subtlety dissipates as Justin Chon's film grasps for something louder and more obvious. - Slant Magazine EDIT
Read More | Posted Sep 3, 2019
2.5/4 89% Blinded by the Light (2019) The film bottles a palpable emotion of unabashed joy, even when the rest of it seems to barely hold together. - Slant Magazine EDIT
Read More | Posted Aug 14, 2019
2.5/4 86% The Nightingale (2019) The violence of Jennifer Kent's film doesn't seem to build upon its themes so much as repeat them. - Slant Magazine EDIT
Read More | Posted Jul 28, 2019
2.5/4 84% Crawl (2019) The film is more straight-faced than Alexandre Aja's prior work, trading absurd kills for narrow escapes from gaping alligator jaws. - Slant Magazine EDIT
Read More | Posted Jul 12, 2019
2.5/4 60% Native Son (2019) Native Son makes a number of changes to its source material, many of which dilute the story's power. - Slant Magazine EDIT
Read More | Posted Apr 6, 2019
1.5/4 89% O.G. (2018) O.G. is inevitably no more illuminating than any other narrative dramatization of prison life. - Slant Magazine EDIT
Read More | Posted Feb 20, 2019