Movie Reviews Published by Slant Magazine - Page 23 of 415

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Review of The Many Saints of Newark (2021)

By Jake Cole (292) for Slant Magazine (8,298) on 21 Sep 2021

The juxtapositions between backroom politicking, intimate family drama, and the occasional lurches into action often give the impression of…

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Review of Cry Macho (2021)

By Chuck Bowen (756) for Slant Magazine (8,298) on 21 Sep 2021

The film achieves the nourishing simplicity of a fable, and its devotion to the quotidian elements of mythical small-town western life is nearly…

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Review of The Power of the Dog (2021)

By Chris Barsanti (896) for Slant Magazine (8,298) on 21 Sep 2021

The film looks at times like a stiff-jawed period piece, but it ripples underneath with a prickly modern sensibility…

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Review of Dear Evan Hansen (2021)

By Dan Rubins (25) for Slant Magazine (8,298) on 20 Sep 2021

The film works harder to fix the problems with its source material than to establish itself as an independent piece of art…

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Review of Encounter (2021)

By Chris Barsanti (896) for Slant Magazine (8,298) on 20 Sep 2021

In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul…

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Review of Encounter (2021)

By Chris Barsanti (896) for Slant Magazine (8,298) on 20 Sep 2021

In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul…

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Review of Flee (2021)

By Keith Watson (196) for Slant Magazine (8,298) on 20 Sep 2021

The film effectively immerses us in the wrenching details of Amin’s story, but it keeps us just a bit too far removed from the man himself…

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Review of Encounter (2021)

By Chris Barsanti (896) for Slant Magazine (8,298) on 20 Sep 2021

In spite of the film’s troublingly naïve take on mental trauma, Riz Ahmed vividly and empathetically captures a man’s wounded soul…

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Review of The Forgiven (2022)

By Mark Hanson (70) for Slant Magazine (8,298) on 18 Sep 2021

Whatever satire of white elite society is intended by The Forgiven has been blunted by monotony…

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Review of What Do We See When We Look at the Sky? (2021)

By Christopher Gray (138) for Slant Magazine (8,298) on 18 Sep 2021

The film is an offbeat epic informed by a reverence for the past and a delicate wariness toward the future…

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Review of Procession (2021)

By Chuck Bowen (756) for Slant Magazine (8,298) on 18 Sep 2021

Robert Greene’s gaze is an attempt to accord his subjects the dignity of attention, utilizing cinema as a form of emotional due process…

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Review of The Electrical Life of Louis Wain (2021)

By Jake Cole (292) for Slant Magazine (8,298) on 16 Sep 2021

The film charts Louis Wain’s slow, long mental breakdown in ways that tackily oscillate between the pitying and the whimsical…

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Review of Belfast (2021)

By Mark Hanson (70) for Slant Magazine (8,298) on 16 Sep 2021

Kenneth Branagh's film understands the malleability of memory, and it embodies cinema’s ability to offer a kind of escapism, but up until…

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Review of The Eyes of Tammy Faye (2021)

By Derek Smith (382) for Slant Magazine (8,298) on 16 Sep 2021

The Eyes of Tammy Faye mostly plays out as a showcase for Jessica Chastain to bring as much emotional sturm und drang to the woman as she lurches…

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Review of Benediction (2022)

By Keith Uhlich (870) for Slant Magazine (8,298) on 16 Sep 2021

Terence Davies’s film is a rhapsodic portrayal of an upper-crust milieu in which words are wielded like weapons by people who might otherwise…

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Review of Benediction (2021)

By Keith Uhlich (870) for Slant Magazine (8,298) on 16 Sep 2021

Terence Davies’s film is a rhapsodic portrayal of an upper-crust milieu in which words are wielded like weapons by people who might otherwise…

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Review of Copshop (2021)

By Wes Greene (110) for Slant Magazine (8,298) on 14 Sep 2021

With its pulpy thrills, hyperbolic dialogue, charismatic scumbags, and a score heavy in electronic effects and percussion, the film effortlessly…

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Review of The Mad Women's Ball (2021)

By Steven Scaife (53) for Slant Magazine (8,298) on 13 Sep 2021

The film capsizes in the absence of a compelling center for Mélanie Laurent to hang her directorial panache…

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Review of The Guilty (2021)

By Jake Cole (292) for Slant Magazine (8,298) on 13 Sep 2021

This is an engaging, no-frills entertainment that still fails to justify its reason for being…

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Review of The Nowhere Inn (2021)

By Derek Smith (382) for Slant Magazine (8,298) on 13 Sep 2021

The film is elevated by funny, cleverly staged sequences, but it too often hammers the notion that fame destroys authenticity…

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