Slant Magazine

Tomatometer-approved publication
Rating Title/Year Author
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 () 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 () 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
3.5/4 Uncut Gems (2019) Jake Cole In the film, a man's individual tragedy illuminates the emptiness of the systems that define him. EDIT
Posted Sep 10, 2019
1.5/4 Joker (2019) Keith Uhlich The film is one that might have been dreamed up by one of the cynical bros from the Hangover during a blacked-out stupor. EDIT
Posted Sep 10, 2019
3/4 Sibyl (2019) Diego Semerene Throughout, Justine Triet is committed above all else to the tricks that memory and language can play on us. EDIT
Posted Sep 10, 2019
2.5/4 The Goldfinch (2019) Chris Barsanti Enough of the individual moments pulled from the rag-and-bone shop of Donna Tartt's sprawling mystery narrative make an emotional impact that the story's structural issues fail to register as much at first. EDIT
Posted Sep 10, 2019
2.5/4 The Sound of Silence (2019) Chuck Bowen A wonderful high concept is compromised for another story of lonely people learning to connect. EDIT
Posted Sep 10, 2019
3/4 Color Out of Space (2010) Jake Cole The film is a vivid depiction of how a confrontation with the unknown can so easily shatter the fragile bonds that hold us together. EDIT
Posted Sep 10, 2019
2.5/4 Downton Abbey (2019) Ed Gonzalez Every scene here feels as if it begins with a grenade being thrown into a room, leaving one to wonder how it will be diffused, and after a while, all you see are the gears of various sublots turning separately until they mesh together and move in unison. EDIT
Posted Sep 9, 2019
2/4 Monos (2019) Christopher Gray Alejandro Landes's film depicts amorality with minimal curiosity and a surplus of numbing stylistic verve. EDIT
Posted Sep 9, 2019
3.5/4 Depraved (2019) Steven Scaife Larry Fessenden diagnoses the rot of our era through the shifting personalities and power dynamics of solipsistic men. EDIT
Posted Sep 9, 2019
3.5/4 () Sam C. Mac The film's masterstroke is that its fugitive antiheroes are framed by an environment that reflects their criminal lives back at them. EDIT
Posted Sep 9, 2019
0/4 Jojo Rabbit (2019) Keith Uhlich Waititi is incapable of dealing with the twin horrors of oppression and indoctrination beyond cheap-seats sentimentality and joke-making. EDIT
Posted Sep 9, 2019
2.5/4 () Peter Goldberg Federico Veiroj continuously underlines in red ink his protagonist's cowardness, impulsive greediness, and lust. EDIT
Posted Sep 8, 2019
3.5/4 () Jake Cole In the film, the literal union of bodies is the only logical means of conveying the reestablishment of emotional bonds. EDIT
Posted Sep 8, 2019
3/4 Honey Boy (2019) Jake Cole In Alma Har'el's film, Shia LaBeouf's plays an avatar of his father as an expressionistic act of self-therapy. EDIT
Posted Sep 8, 2019
3/4 Knives Out (2019) Jake Cole The actors' hammy performances only compound the amusement of watching a dynasty propped up by largesse fall to pieces at the very thought of actually having to earn their way in life. EDIT
Posted Sep 8, 2019
2/4 Just Mercy (2019) Jake Cole The film around Michael B. Jordan plays like a lesson on justice being taught by self-aware actors, but he lives Bryan's pain, imbuing Just Mercy with a forcefulness that overpowers the its sermonizing. EDIT
Posted Sep 7, 2019
2/4 () Jake Cole The film falls back on a reductive rumination on the balance between maternal obligation and career aspiration. EDIT
Posted Sep 7, 2019
2.5/4 () Chuck Bowen Kôji Fukada adores stray textures that stick in the proverbial throat and free-associatively affirm his characters' rootlessness. EDIT
Posted Sep 7, 2019
3/4 The Personal History of David Copperfield (2019) Keith Uhlich It's not hard to parallel David/Dickens's head-spinningly intricate descriptors with Iannucci's own prodding, poetically vulgar rhetoric. EDIT
Posted Sep 6, 2019
3/4 () Chuck Bowen The tactility of earlier Hirokazu Kore-eda imagery has been traded for a softer, more luscious, nevertheless melancholic dream world. EDIT
Posted Sep 6, 2019
3/4 () Jake Cole Kantemir Balagov depicts pain in blunt terms, but he traces the aftershocks of coping and collapse with delicate subtlety. EDIT
Posted Sep 6, 2019
It: Chapter Two (2019) Henry Stewart The film argues we're stronger and better when we're home, building communities that can oppress the oppressors and build up so-called "losers." EDIT
Posted Sep 5, 2019
4/4 () Christopher Gray As Mati Diop mourns Senegal's lost men, she honors their grief and affords them tremendous power all at once. EDIT
Posted Sep 5, 2019
2.5/4 The Traitor (2019) Jake Cole It's at its best when showing how gangsters undermine their lofty notions of nobility with displays of narcissism. EDIT
Posted Sep 5, 2019
2.5/4 Portrait of a Lady on Fire (2019) Christopher Gray What's most stirring about Céline Sciamma's film is the lack of artifice in Héloïse and Marianne's feelings for one another. EDIT
Posted Sep 5, 2019
3/4 Freedom (2019) Carson Lund Liberté conjures a sustained ambiance and eroticism that's unique to the language of cinema. EDIT
Posted Sep 5, 2019