Movie Reviews Published by Slant Magazine - Page 93 of 415

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Review of Loving Vincent (2017)

By Chuck Bowen (756) for Slant Magazine (8,298) on 20 Sep 2017

Dorota Kobiela and Hugh Welchman's film is driven by an off-putting and oxymoronic fusion of reverence and egotism…

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Review of Stronger (2017)

By Derek Smith (382) for Slant Magazine (8,298) on 20 Sep 2017

David Gordon Green zeroes in on the intricacies of Jeff Bauman and Erin Hurley's dysfunctional relationship, offering up an unassuming portrait…

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Review of Friend Request (2016)

By Chuck Bowen (756) for Slant Magazine (8,298) on 19 Sep 2017

The viewer anticipates satire from such a sociologically loaded premise, but director Simon Verhoeven and co-writers Matthew Ballen and Philip…

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Review of Kingsman: The Golden Circle (2017)

By Jake Cole (292) for Slant Magazine (8,298) on 19 Sep 2017

The hollow grandeur of the film's action only gives the proceedings a glib undertone that also undermines the rare occasions of earnestness…

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Review of The Lego Ninjago Movie (2017)

By Keith Watson (196) for Slant Magazine (8,298) on 19 Sep 2017

The film’s cumulative effect is utter exhaustion, the cinematic equivalent of chasing a toddler through a toy store…

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Review of Gaga: Five Foot Two (2017)

By Eric Henderson (366) for Slant Magazine (8,298) on 19 Sep 2017

Far from seeming like a strategic element created to define Lady Gaga's reinvention, the documentary instead feels like a natural outgrowth of it…

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Review of Woodshock (2017)

By Henry Stewart (71) for Slant Magazine (8,298) on 19 Sep 2017

It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds…

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Review of Faces Places (2017)

By Clayton Dillard (209) for Slant Magazine (8,298) on 18 Sep 2017

Agnès Varda and JR's film develops into something approaching a manifesto for the possibility of shared happiness…

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Review of First They Killed My Father (2017)

By Chuck Bowen (756) for Slant Magazine (8,298) on 18 Sep 2017

First They Killed My Father is less interested in global politics than in offering an intensely experiential tapestry of war and invasion as…

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Review of Bobbi Jene (2017)

By Clayton Dillard (209) for Slant Magazine (8,298) on 17 Sep 2017

Elvira Lind's film is closer to an advertisement for Bobbi Jene Smith than a film about the contemporary dancer…

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Review of Last Rampage (2017)

By Derek Smith (382) for Slant Magazine (8,298) on 17 Sep 2017

Although Last Rampage's overarching narrative travels a well-tread road, it strikes a number of potent grace notes along the way…

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Review of Victoria & Abdul (2017)

By Kenji Fujishima (277) for Slant Magazine (8,298) on 16 Sep 2017

By privileging the white characters in its narrative, Victoria & Abdul exposes itself as insidiously hypocritical…

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Review of The Force (2017)

By Keith Watson (196) for Slant Magazine (8,298) on 16 Sep 2017

Though initially compelling, Peter Nick's documentary is fundamentally without a clear perspective on its subject…

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Review of The Disaster Artist (2017)

By Jake Cole (292) for Slant Magazine (8,298) on 15 Sep 2017

James Franco's The Disaster Artist perfectly conveys the surreal hell of what the production of Tommy Wiseau's The Room must have been like…

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Review of Roman J. Israel, Esq. (2017)

By Keith Uhlich (870) for Slant Magazine (8,298) on 14 Sep 2017

A rare bad performance from Denzel Washington sinks Roman J. Israel, Esq., writer-director Dan Gilroy's follow-up to 2014's Nightcrawler…

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Review of Mother (2009)

By Christopher Gray (138) for Slant Magazine (8,298) on 13 Sep 2017

If Black Swan was filmmaker Darren Aronofsky's fevered valentine to the artist's self-abnegating drive toward greatness, then Mother…

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Review of The Future Perfect (2017)

By Clayton Dillard (209) for Slant Magazine (8,298) on 13 Sep 2017

The Future Perfect has the texture of a novella that keeps reworking the same idea in successively intricate ways…

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Review of Mother (2010)

By Christopher Gray (138) for Slant Magazine (8,298) on 13 Sep 2017

If Black Swan was filmmaker Darren Aronofsky's fevered valentine to the artist's self-abnegating drive toward greatness, then Mother…

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Review of mother! (2017)

By Christopher Gray (138) for Slant Magazine (8,298) on 13 Sep 2017

If Black Swan was filmmaker Darren Aronofsky's fevered valentine to the artist's self-abnegating drive toward greatness, then Mother…

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Review of American Assassin (2017)

By Derek Smith (382) for Slant Magazine (8,298) on 12 Sep 2017

It's impossible to take it seriously as anything other than an Abercrombie & Fitch ad posing as a political thriller…

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