Slant Magazine

Tomatometer-approved publication
Rating Title/Year Author
2/4 Maiden (2018) Wes Greene Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material. EDIT
Posted Jun 24, 2019
2/4 Child's Play (2019) Derek Smith By the end, it becomes what it initially parodies: a dime-a-dozen slasher film with a silly-looking doll as the villain. EDIT
Posted Jun 20, 2019
2.5/4 Nightmare Cinema (2018) Chuck Bowen The anthology justifies Mick Garris's passion for horror, though he ironically proves to be one of his project's liabilities. EDIT
Posted Jun 18, 2019
3/4 Toni Morrison: The Pieces I Am (2019) Pat Brown In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice. EDIT
Posted Jun 18, 2019
3/4 A Bigger Splash (1973) Wes Greene Jack Hazan's portrait of David Hockney stands between documentary and fictional film, reality and fantasy. EDIT
Posted Jun 17, 2019
2.5/4 The Quiet One (2019) Chuck Bowen In the end, the film feels like a sketch that's been offered in place of a portrait. EDIT
Posted Jun 17, 2019
3/4 Wild Rose (2018) Derek Smith Tom Harper's film empathetically probes the growing pains of self-improvement. EDIT
Posted Jun 16, 2019
1/4 Shaft (2019) Keith Watson Ultimately, the only truly retro thing about this weirdly reactionary potboiler is its politics. EDIT
Posted Jun 14, 2019
3/4 Toy Story 4 (2019) Pat Brown The film seamlessly interweaves fun escapades and earnest emotions, but it lacks the visual power of its predecessor. EDIT
Posted Jun 13, 2019
1.5/4 Men in Black: International (2019) Pat Brown The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance. EDIT
Posted Jun 13, 2019
2.5/4 American Woman (2018) Pat Brown Sienna Miller lends credibility to a character that in other hands might seem like a caricature of the white underclass. EDIT
Posted Jun 11, 2019
1.5/4 The Reports on Sarah and Saleem (2018) Diego Semerene We never spend enough time with the characters to believe the urgency, and lushness, of their cravings. EDIT
Posted Jun 11, 2019
3/4 Our Time (2018) Christopher Gray The film elides politics in order to earnestly consider whether love is necessarily an act of possession. EDIT
Posted Jun 10, 2019
3/4 Blue Note Records: Beyond the Notes (2018) Chuck Bowen The documentary proves that the history and mythology of American jazz is as intoxicating as the music itself. EDIT
Posted Jun 10, 2019
1.5/4 Being Frank (2018) Derek Smith The film sends the curious message that that any time an abusive parent spends with a child is time well spent. EDIT
Posted Jun 10, 2019
1.5/4 Late Night (2019) Jake Cole The film lacks for the more lacerating, freely parodic energy of The Larry Sanders Show and 30 Rock. EDIT
Posted Jun 6, 2019
1.5/4 Dark Phoenix (2019) Jake Cole The film is an all-too-fitting whimper of a conclusion to a franchise that never remotely fulfilled its potential. EDIT
Posted Jun 4, 2019
.5/4 Papi chulo (2018) Ed Gonzalez A shrill and insipid spectacle of cross-cultural communion, but don't call it stupid, as that would suggest that it doesn't know exactly what it's doing. EDIT
Posted Jun 4, 2019
This One's for the Ladies (2018) Pat Brown There's a surprising sense of communal exchange between the male strippers and their fans in Gene Graham's documentary. EDIT
Posted Jun 4, 2019
2.5/4 Funan (2019) Keith Watson There are hints that the film will scale itself to the broader historical context of this era, but the screenplay never elaborates on the ethnic strife the undergirds the Cambodian genocide. EDIT
Posted Jun 4, 2019
3.5/4 The Last Black Man in San Francisco (2019) Pat Brown simultaneously announces itself as an expressive portrait of a city, an endearing ode to male comradery, a leisurely paced hangout flick, an absurdist comedy, and a melancholic reflection on gentrification and urban black experience. EDIT
Posted Jun 3, 2019
3/4 () Sam C. Mac The film succeeds as a stingingly personal missive aimed squarely at Brazil's right-wing president. EDIT
Posted Jun 3, 2019
3/4 The Raft (2018) Christopher Gray The film uses Santiago Genovés's experiment to scrutinize memory and capture the feeling of life under a very curious sort of dictatorship. EDIT
Posted Jun 1, 2019
3.5/4 Framing John DeLorean (2019) Oleg Ivanov John DeLorean has a biography that could have been reverse engineered from a Hollywood epic about the rise and fall of an auto-industry mogul. EDIT
Posted Jun 1, 2019
2/4 Pavarotti (2019) Derek Smith Throughout, the too-brief depictions of Luciano Pavarotti's flaws are conspicuously shrouded in a veil of hagiography. EDIT
Posted Jun 1, 2019
2.5/4 Tarde para morir joven (2018) Carson Lund The experience of watching Too Late to Die Young is not unlike entering a stranger's dream without an anchor. EDIT
Posted May 31, 2019
2.5/4 La chute de l'empire Américain (2018) Chuck Bowen Despite a few undeniably intense and lurid moments, the film lacks the pulsating fury of a significant genre work. EDIT
Posted May 30, 2019
1/4 Ma (2019) Henry Stewart In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors. EDIT
Posted May 29, 2019
3/4 The Image You Missed (2018) Peter Goldberg The film finds Dónal Foreman exploring the suggestive gaps that exist between his own biography and that of his father. EDIT
Posted May 29, 2019
2.5/4 Godzilla: King of the Monsters (2019) Jake Cole The film is frustrating in the end for reaffirming the traditional blockbuster's allegiance to human perseverance. EDIT
Posted May 29, 2019
2/4 Deadwood: The Movie (2019) Chuck Bowen [David] Milch and [Daniel] Minahan fall prey, in a fashion, to the Marvel syndrome, striving so hard to give the audience glimpses of each and every beloved character that they forget to mount a living and breathing, truly present-tense narrative. EDIT
Posted May 28, 2019
3.5/4 The Garden (1990) Pat Brown Derek Jarman's 1990 film isn't without hope that we can regrow a paradise. EDIT
Posted May 28, 2019
3/4 Leaving Home, Coming Home: A Portrait of Robert Frank (2005) Chuck Bowen Beautiful loneliness, as the film suggestively reveals, is a texture that Frank knows all too well. EDIT
Posted May 28, 2019
2/4 Domino (2019) Niles Schwartz The film goes through its motions too quickly for its imagery to convey the irrepressible force of provocation. EDIT
Posted May 27, 2019
() Sam C. Mac It's the way that Atlantics pivots into the realm of the supernatural, and even flirts with the horror genre, that makes it so unique. EDIT
Posted May 25, 2019
() Sam C. Mac The Dardennes treat Young Ahmed as a kind of human-interest story, but with a huge dose of suspense thrown in. EDIT
Posted May 25, 2019
() Sam C. Mac It could just as easily be read as a fortification of the idea that The Streets Aren't Safe, and a film like this shouldn't make the conflation of progressive and conservative politics that easy. EDIT
Posted May 25, 2019
Oh Mercy! (Roubaix, Une Lumière) (2019) Sam C. Mac It isn't too long into its running time that Oh Mercy!, in its generally abiding faith in the effectiveness and general well-meaning of police work, comes off as undiscerning in its pro-cop stance. EDIT
Posted May 25, 2019
4/4 Once Upon a Time in... Hollywood (2019) Sam C. Mac The film is Quentin Tarantino's magnum opus—a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence. EDIT
Posted May 24, 2019
Introduzione all'oscuro (2018) Keith Watson a procession of taut, piquant compositions whose relationship to one another isn't precisely clear but which, when taken together, create an indelible impression of a highly specific milieu. EDIT
Posted May 23, 2019
Coincoin and the Extra-Humans (Coincoin et les Z'inhumains) (2018) Keith Watson The film evokes a deep-rooted spirit of reactionary malaise, of people whose lives are hopelessly circumscribed by their own fears and prejudices. EDIT
Posted May 23, 2019
3/4 Booksmart (2019) Pat Brown It's an R-rated teen comedy that proves that you can center girls' experiences without sacrificing grossness, and that you can be gross without being too mean. EDIT
Posted May 23, 2019
3/4 Woodstock: Three Days That Defined a Generation (2019) Chris Barsanti Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn't occur. EDIT
Posted May 22, 2019
3.5/4 The Souvenir (2019) Carson Lund Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today. EDIT
Posted May 22, 2019
1/4 Aladdin (2019) Jake Cole Guy Ritchie's live-action remake is content to trace the original's narrative beats with perfunctory indifference. EDIT
Posted May 22, 2019
1/4 Brightburn (2019) Ed Gonzalez The way the film shuttles through its 90 minutes, it's as if it's been stripped of its most crucial narrative parts. EDIT
Posted May 22, 2019
3/4 The Lighthouse (2019) Sam C. Mac Robert Eggers loosens the noose of veracity that choked his meticulously researched but painfully self-serious debut just enough to allow for so much absurdism to peek through. EDIT
Posted May 22, 2019
American Factory (2019) Carson Lund What it amounts to isn't an exploration of culture clash or a penetrating depiction of rust belt dejection, but rather a rallying cry for worker solidarity (in America, if not across the globe), a message it pulls off resoundingly in the final hour. EDIT
Posted May 21, 2019
Donbass (2018) Carson Lund Donbass is fueled by collisions between the grave and the comic. EDIT
Posted May 21, 2019
() Carson Lund The film drifts subtly from subject to subject, pointedly using B roll not just to provide a sense of place, which it does evocatively, but to extend someone's thought or offer counterpoint. EDIT
Posted May 21, 2019