Slashfilm

Tomatometer-approved publication
Rating Title/Year Author
8/10 Ready or Not (2019) Chris Evangelista The script is never as clever as it could be, but that's not an issue. Situations like this sometimes call for the blunt force trauma of a sledgehammer blow rather than a light elbow nudge to the ribs. EDIT
Posted Aug 21, 2019
3/10 47 Meters Down: Uncaged (2019) Chris Evangelista This movie has a jump-scare involving a screaming fish. That's all you need to know. EDIT
Posted Aug 14, 2019
8.5/10 Yellow Rose (2019) Caroline Cao The movie never wallows but provides breathing time for despair. EDIT
Posted Aug 13, 2019
5/10 The Angry Birds Movie 2 (2019) Josh Spiegel It's a few steps above its more obnoxious predecessor, and the jokes feel more indebted to the work of Chuck Jones than you can find in most modern animated films. EDIT
Posted Aug 12, 2019
7/10 Scary Stories to Tell in the Dark (2019) Chris Evangelista This is a gateway drug for budding young horror fans. EDIT
Posted Aug 12, 2019
5/10 Brian Banks (2018) Josh Spiegel As a true story, it's remarkable. But the translation from truth to cinema leaves something wanting. EDIT
Posted Aug 9, 2019
3/10 The Kitchen (2019) Josh Spiegel This film has a killer cast, and wastes them in a baffling, atonal mess. EDIT
Posted Aug 7, 2019
The Other Side of the Wind (2018) Siddhant Adlakha What we're seeing isn't so much an Orson Welles film about the unknowability of the artist as it is that very unknowability made manifest. We were never going to see what Welles had originally intended; perhaps this best-case-scenario is rightfully obtuse EDIT
Posted Aug 7, 2019
Wildlife (2018) Siddhant Adlakha Wildlife is an immense first feature that plays like an actor's dream. It lives in the beats between dialogue, capturing something fundamentally human in the process. EDIT
Posted Aug 7, 2019
Ahlat Agaci (2018) Siddhant Adlakha The entire feel of the film shifts at times, often mid-scene, as Sinan attempts to craft a personal history while trying to break free from the shackles of history at large. EDIT
Posted Aug 7, 2019
Double Lives (2018) Siddhant Adlakha The film's French title Double vies (or Double Lives) hints not only at the many extra-marital affairs lurking beneath the film's surface, but at the duality of life lived in the digital age. EDIT
Posted Aug 7, 2019
Her Smell (2018) Siddhant Adlakha The film's snaking long-takes and harsh lighting create a lurid texture, helped along by a bold sound-mix that turns every drugged out, Shakespearean monologue by the impeccable Moss into a waking nightmare. EDIT
Posted Aug 7, 2019
The Favourite (2018) Siddhant Adlakha The three leads astonish in their respective roles, beginning from a place of madcap frenzy before their performances transition slowly toward subtlety and nuance, as they begin to bare their souls. EDIT
Posted Aug 7, 2019
Cold War (2018) Siddhant Adlakha Zula and Wiktor age as the years pass, not only in body and attire, but in their very souls, becoming weighed down by political chess games they've been forced to become a part of. EDIT
Posted Aug 7, 2019
At Eternity's Gate (2018) Siddhant Adlakha Dafoe's van Gogh searches, desperately, for ways in which to share his visions of the world and its eternal secrets, in a film that could not be more uniquely conceived. EDIT
Posted Aug 7, 2019
Ash Is Purest White (2018) Siddhant Adlakha Led be immensely pained performances from Tao Zhao and Fan Liao, who carry the weight of guilt, betrayal and a rapidly changing society on their shoulders, the film brings in to focus the ways in which forces larger than ourselves end up molding our lives EDIT
Posted Aug 7, 2019
Se rokh (2018) Siddhant Adlakha A bizarre journey of cultural discovery, immersing themselves in distant languages, customs and beliefs in order to find answers, like reconnecting with roots they didn't know they had lost. EDIT
Posted Aug 7, 2019
Supa Modo (2018) Siddhant Adlakha Supa Modo is a delicate film, one that even manages to be joyful at times. EDIT
Posted Aug 7, 2019
Rafiki (2018) Siddhant Adlakha It proves to be one of the rare films of its ilk that post-scripts realistic atrocities with a promise of a life fully lived, even after the trauma. EDIT
Posted Aug 7, 2019
Creed (2015) Siddhant Adlakha Adonis' presence splits the cinematic illusion like a prism, as it hops back and forth between fighters. In one moment, Adonis punches alongside Apollo, embracing his legacy. In the next, he rejects it, fighting Apollo himself. EDIT
Posted Aug 7, 2019
Roma (2018) Siddhant Adlakha If the streaming giant's theatrical rollout finds its way to your vicinity, you owe yourself the unique experience of sitting down in a seat in order to walk through someone else's memory. It's like nothing you've ever heard or seen. EDIT
Posted Aug 7, 2019
Annihilation (2018) Siddhant Adlakha The story reverberates, echoing through the characters' skin and voice and very sense of being. EDIT
Posted Aug 7, 2019
BlacKkKlansman (2018) Siddhant Adlakha Arguably Lee's best film since 25th Hour, he re-cements himself as one of America's premiere cinematic voices. Not only does he craft yet another ode to the beauty of blackness, he also taps into a particular cognitive dissonance plaguing modern America. EDIT
Posted Aug 7, 2019
Paddington 2 (2017) Siddhant Adlakha Everything from the sweet, precisely melodramatic performances to the King's mile-a-minute setups and payoffs works like a charm. EDIT
Posted Aug 7, 2019
High Life (2018) Siddhant Adlakha The moving haze of memory forms a collective portrait of life as it's lived, often in the vast openness of nature - in contrast to the inmates planting fauna in the confines of a lab. As if we're seeing the living memories of the film itself. EDIT
Posted Aug 7, 2019
Blindspotting (2018) Siddhant Adlakha What feels like the most slept-on film of 2018, Blindspotting is, above all else, a magnificent performance piece. EDIT
Posted Aug 7, 2019
Bhasmasur (2017) Siddhant Adlakha Nishil Sheth and D.P. Shrish Tomar explore, through Tipu and Dhaanu's eyes, the beauty and hardships of rural India, from the contours of the broken ground to the golden sunlight shimmering off its surface. EDIT
Posted Aug 7, 2019
Kaala (2018) Siddhant Adlakha Ranjith and cinematographer Murali G. capture a locale that, both in Indian and Western cinema, has rarely been shown this lovingly. They explore its nooks, crannies, people and cultures, in what amounts to the most exciting Indian film this year. EDIT
Posted Aug 7, 2019
Ma.Ama (2018) Siddhant Adlakha A haunting, melodic work reminiscent of Apichatpong Weerasethakul, MAAMA follows one man's late-in-life spiritual awakening, brought on by both the crushing weight of mortality and, not unrelatedly, the spectre of lifelong regret. EDIT
Posted Aug 7, 2019
8/10 Harpoon (2019) Matt Donato Harpoon is one nasty fishhook that's impossible to yank out; a hateful and hilarious boat trip into hell. EDIT
Posted Aug 6, 2019
7.5/10 Blood On Her Name (2019) Matt Donato Blood On Her Name is a thrilling rumination on "right" versus "wrong," tension strung tight enough to slice through crowds like the opening scene in Ghost Ship. EDIT
Posted Aug 6, 2019
8/10 () Matt Donato Burning a slow wick towards a vile end, Jordan Graham's calling card becomes dreadful sorrow and invasive haunts. EDIT
Posted Aug 6, 2019
6/10 Dora and the Lost City of Gold (2019) Josh Spiegel Dora and the Lost City of Gold has no right being as charming and fun as it is, but there's nothing wrong with a pleasant surprise in the dog days of summer. EDIT
Posted Aug 6, 2019
9/10 Once Upon a Time... in Hollywood (2019) Chris Evangelista Who could've guessed that Once Upon a Time in Hollywood, once thought of as "Quentin Tarantino's Charles Manson movie", would end up being one of the sweetest films of the director's career? EDIT
Posted Jul 29, 2019
6/10 Critters Attack! (2019) Matt Donato It's hard not to see Critters Attacks! as the cut-rate Gremlins it unwittingly becomes, but fans of the franchise will get exactly what they want. EDIT
Posted Jul 29, 2019
7/10 () Matt Donato Kimo Stamboel's solo directorial debut avoids the dreaded "video game adaptation" stigma that few have been able to conquer. EDIT
Posted Jul 29, 2019
Manbiki kazoku (2018) Siddhant Adlakha There's a musicality to absolutely everything in the film, from petty thieving at corner stores to conversations around a crowded dinner table. EDIT
Posted Jul 22, 2019
Sandome No Satsujin (2017) Siddhant Adlakha The Third Murder is shot mostly through panes of prison glass. In tackling the weighty subject of Japan's death penalty, the director imbues his meditative mystery with a distinctly icy chill. EDIT
Posted Jul 22, 2019
If Beale Street Could Talk (2018) Siddhant Adlakha When KiKi Layne's Tish and Stephan James' Fonny make love for the first time, If Beale Street Could Talk cuts to a golden light shimmering off the surface of a jazz record. It spins, unevenly but with purpose, carrying with it the weight of history. EDIT
Posted Jul 17, 2019
A Family Tour (2018) Siddhant Adlakha Ying captures quiet, often invisible torment from afar, allowing scenes to play out in unbroken master shots that create a disconnect between the characters' paranoia and the normality of their surroundings. EDIT
Posted Jul 17, 2019
Mid90s (2018) Siddhant Adlakha Mid90s is a brilliant little delight that portrays the ridiculousness of adolescent masculinity, but it's also thoughtful enough to take it seriously. EDIT
Posted Jul 17, 2019
The Image Book (2018) Siddhant Adlakha Even at eighty-seven years of age, Jean-Luc Godard remains one of cinema's most ferocious, most transgressive voices, forcing us to look past the cinematic world we've grown comfortable with - a world he helped create in the first place. EDIT
Posted Jul 17, 2019
Climax (2018) Siddhant Adlakha One of the most unsettling depictions of Hell ever put on screen. EDIT
Posted Jul 17, 2019
A Private War (2018) Siddhant Adlakha For a film that wants desperately to paint a portrait of a woman to whom the lives of war casualties were of utmost concern, A Private War makes Marie Colvin's struggles so private as to sever them from the people whose tragedies set them in motion. EDIT
Posted Jul 17, 2019
Noblemen (2018) Siddhant Adlakha [Vandana] Kataria's Noblemen, while largely withheld to a point of minimalism, bursts sporadically with an unsettling energy as it explores the circumstances in which monsters create more monsters. EDIT
Posted Jul 16, 2019
5/10 Sadako (2019) Matt Donato For how iconic Sadako and Samara have become, 2019's "return" doesn't showcase the same class of terrifier. EDIT
Posted Jul 12, 2019
7/10 Crawl (2019) Chris Evangelista It's a lean, mean, mostly efficient machine - when it's focusing on gator gore. EDIT
Posted Jul 12, 2019
Kraben rahu (2018) Siddhant Adlakha The film's final ten minutes feel like a dream, of home and comfort, turned into a nightmare. EDIT
Posted Jul 12, 2019
Travelers and Magicians (2003) Siddhant Adlakha Travelers and Magicians is deeply affecting. It plays, in itself, like an act of reconciliation, arriving at answers that seek not to bridge impossible physical and cultural gaps, but to guide one as they navigate the journey between them. EDIT
Posted Jul 12, 2019
Fandry (2013) Siddhant Adlakha A soulful portrait of character, place and memory, told from the lens of a tumultuous childhood. It builds, incisively, to a stunning, saddening, even enraging climax, holding accountable those who would uphold the perceived normality of caste oppression. EDIT
Posted Jul 12, 2019