Slant Magazine

Tomatometer-approved publication
Rating Title/Year Author
1/4 Maleficent: Mistress of Evil (2019) Pat Brown In transforming folk metaphors into utilitarian attributes of an action hero, Disney exposes the emptiness of their product. EDIT
Posted Oct 15, 2019
2/4 Tell Me Who I Am (2019) Keith Watson By focusing so narrowly on the Lewis brothers' relationship with their mother, the film inadvertently minimizes the scope of their abuse. EDIT
Posted Oct 15, 2019
0/4 Trick (2019) Henry Stewart Patrick Lussier's film is an incompetent, nihilistic exercise in gore and pseudophilosophy. EDIT
Posted Oct 14, 2019
1.5/4 Edmond (2018) Derek Smith The film is imbued with an airless blend of buoyant comedy and soap-operatic backstage drama that recalls Shakespeare in Love. EDIT
Posted Oct 12, 2019
3/4 Greener Grass (2019) Steven Scaife In the film's world, there can be no real resistance, as the suburbs have already won. EDIT
Posted Oct 11, 2019
3/4 () Pat Brown Its depiction of the perpetual terror of living in a war zone will stick with viewers long after The Cave's doctors have left Ghouta. EDIT
Posted Oct 11, 2019
1.5/4 The Addams Family (2019) Derek Smith Until the finale, the film tirelessly hammers home the importance of being true to yourself, yet its ultimate resolution, one of relatively uneasy compromise, confuses even that simple point. EDIT
Posted Oct 10, 2019
3/4 Mister America (2019) Carson Lund The long and circuitous narrative history of the so-called OCU weighs heavily on Eric Notarnicola's film. EDIT
Posted Oct 9, 2019
1.5/4 Gemini Man (2019) Pat Brown Whatever new technology facilitated its genesis, the film is just another assembly-line reproduction. EDIT
Posted Oct 9, 2019
3/4 The Dead Center (2018) Chuck Bowen The film is in tune with the need to remain lucid and empathetic while in the maw of human extremity. EDIT
Posted Oct 9, 2019
1.5/4 Mary (2019) Chuck Bowen Mary comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats. EDIT
Posted Oct 6, 2019
2.5/4 First Cow (2019) Keith Uhlich The sense of a nascent community rising up out of the primordial muck is palpable, so it's unfortunate that John Magaro and Orion Lee's characters ultimately feel outside it all. EDIT
Posted Oct 6, 2019
3.5/4 () Sam C. Mac The hegemony of history is rigid, but Lou Ye is still able to disrupt it in the form of its representation. EDIT
Posted Oct 4, 2019
3/4 Low Tide (2019) Chuck Bowen Kevin McMullin displays a piercing awareness of the tensions that drive the dynamics of adolescent outsiders. EDIT
Posted Oct 3, 2019
2.5/4 Wrinkles the Clown (2019) Diego Semerene The film's mid-act about-face lends a refreshing sense of complexity to an otherwise superficial depiction of Wrinkles. EDIT
Posted Oct 2, 2019
1/4 Lucy in the Sky (2019) Keith Uhlich Noah Hawley treats his protagonist's story as a somber tragedy that at times stoops to trashiness. EDIT
Posted Oct 1, 2019
1.5/4 In the Tall Grass (2019) Chuck Bowen Vincenzo Natali's film divests itself of stakes in the name of total meaninglessness. EDIT
Posted Oct 1, 2019
3/4 Célébration (2018) Pat Brown Olivier Meyrou's ironically titled documentary weaves a tightly constructed story about success, power, and mortality. EDIT
Posted Oct 1, 2019
1.5/4 () Pat Brown The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity. EDIT
Posted Sep 29, 2019
3.5/4 The Irishman (2019) Keith Uhlich The film feels composed of burnished, often blackly funny, fragments of erratic memory. EDIT
Posted Sep 27, 2019
.5/4 10 Minutes Gone (2019) Derek Smith Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude. EDIT
Posted Sep 25, 2019
2/4 The Day Shall Come (2019) Steven Scaife The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude. EDIT
Posted Sep 25, 2019
The Congress (2013) Samuel B. Prime The Congress is part live action and part Ralph Bakshi fever dream, but all nightmare. It paints a vision of the future where individuality and anything resembling free will is supplanted by delicious chemical cocktails and a candy-coated reversal. EDIT
Posted Sep 24, 2019
Why Don't You Play in Hell? (2013) Samuel B. Prime A minor character at one point buoyantly asks, "What's 35mm?" Sono's mission is to create a film that answers this vacant, if innocent, question. EDIT
Posted Sep 24, 2019
Patrick (2013) Samuel B. Prime As it stands, Hartley has too much respect for the genre films that precede him, and in translating this respect he fails to find his own voice as a director. EDIT
Posted Sep 24, 2019
Coherence (2013) Samuel B. Prime Coherence was a highlight. A deceptively simple film made with minimal cast, crew, and budget, it boasts more than enough sheer imagination to tip the scale in its favor. EDIT
Posted Sep 24, 2019
3/4 The Death of Dick Long (2019) Keith Watson Daniel Scheinert's film finds a very human vulnerability lurking beneath the strange and oafish behaviors of its male characters. EDIT
Posted Sep 23, 2019
2.5/4 Abominable (2019) Pat Brown The second half's series of hollow visual spectacles foreground the film as a corporate product. EDIT
Posted Sep 22, 2019
3/4 First Love (2019) Chuck Bowen First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing. EDIT
Posted Sep 22, 2019
3/4 Rambo: Last Blood (2019) Keith Uhlich The Looney Tunes nature of Rambo's murder spree tempers much of the script's ideological offense. EDIT
Posted Sep 19, 2019
3.5/4 Ad Astra (2019) Carson Lund In a future where the plagues of civilization have only evolved into new shapes and sizes, it asks, in a roundabout way, if there's anything worthier of exploration than our own relationships. EDIT
Posted Sep 18, 2019
2/4 Judy (2019) Keith Uhlich Renée Zellweger can reach all the notes and hit all the marks, but Garland's high-tension-wire emoting eludes her. EDIT
Posted Sep 18, 2019
2/4 Loro (2018) Chuck Bowen Like most of Paolo Sorrentino's films, Loro is closer to a stylistic orgy than an existential rumination on Italy's heritage. EDIT
Posted Sep 17, 2019
2.5/4 Promare (2019) Steven Scaife 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. EDIT
Posted Sep 17, 2019
3/4 I Was at Home, But (Ich war zuhause, aber) (2019) Carson Lund Angela Schanalec's film configures itself most potently in hindsight as a punch to the gut. EDIT
Posted Sep 16, 2019
3.5/4 Midnight Traveler (2019) Pat Brown Balancing rough-edge verité with highly composed images and a meticulous structure, it doesn't preclude itself from finding something like poetry in its subjects' struggles. EDIT
Posted Sep 16, 2019
2/4 Young Ahmed (2019) Chuck Bowen The Dardennes maintain a distance from Ahmed as a way of celebrating their refusal to reduce him to any easy psychological bullet points. EDIT
Posted Sep 16, 2019
3/4 Oh Mercy! (Roubaix, Une Lumière) (2019) Chuck Bowen Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime. EDIT
Posted Sep 16, 2019
3/4 Marriage Story (2019) Jake Cole Throughout, the subtle glimpses of a couple's lingering affection for one another complicate the bitterness of their separation. EDIT
Posted Sep 16, 2019
1.5/4 Villains (2019) Keith Watson Maika Monroe's engaging performance serves only to highlight how feeble and unconvincing the rest of the film is. EDIT
Posted Sep 15, 2019
1.5/4 The Laundromat (2019) Keith Uhlich Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro. EDIT
Posted Sep 15, 2019
4/4 () Sam C. Mac With his latest, Kiyoshi Kurosawa celebrates the conquering of fear as our greatest hope against the world's horrors. EDIT
Posted Sep 15, 2019
1.5/4 Harriet (2019) Jake Cole Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible. EDIT
Posted Sep 15, 2019
3/4 Where's My Roy Cohn? (2019) Chris Barsanti This sharp, to-the-point portrait of the crook, fixer, and right-wing pitbull resists the urge to darkly glamorize him. EDIT
Posted Sep 13, 2019
2/4 Waves (2019) Jake Cole This is a rare case of a film that's stronger when it colors inside the lines than radically traces outside of them. EDIT
Posted Sep 13, 2019
2.5/4 Martin Eden (2019) Greg Cwik Martin Eden works better as a story of self-loathing and self-destruction than it does as a social critique or political statement. EDIT
Posted Sep 12, 2019
3/4 Hustlers (2019) Pat Brown The film is remarkable for capturing a brewing conflict between women while also celebrating their connection. EDIT
Posted Sep 12, 2019
1.5/4 Motherless Brooklyn (2019) Jake Cole Motherless Brooklyn feels altogether too tidy, a film that revives many of the touchstones of noir, but never that throbbing unease that courses through the classics of the genre. EDIT
Posted Sep 12, 2019
3/4 () Diego Semerene Olivier Laxe's film refreshingly occupies an almost uncategorizable cinematic realm. EDIT
Posted Sep 11, 2019
2.5/4 Ford v Ferrari (2019) Jake Cole At a time when the nation continues to weigh the fate of its auto industry, James Mangold's depiction of the Ford Motor Company facing its first major financial threat transparently plays to nostalgic reveries of the industry's golden age. EDIT
Posted Sep 11, 2019