Sam C. Mac Movie Reviews & Previews - Rotten Tomatoes

Sam C. Mac

Sam C. Mac
Sam C. Mac's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
3.5/4 54% Saturday Fiction (Lan xin da ju yuan) (2019) The hegemony of history is rigid, but Lou Ye is still able to disrupt it in the form of its representation. ‐ Slant Magazine
Read More | Posted Oct 4, 2019
4/4 93% To the Ends of the Earth (Tabi no Owari Sekai no Hajimari) (2019) With his latest, Kiyoshi Kurosawa celebrates the conquering of fear as our greatest hope against the world's horrors.‐ Slant Magazine
Read More | Posted Sep 15, 2019
3.5/4 93% The Wild Goose Lake (Nan fang che zhan de ju hui) (2020) The film's masterstroke is that its fugitive antiheroes are framed by an environment that reflects their criminal lives back at them.‐ Slant Magazine
Read More | Posted Sep 9, 2019
3/4 91% Bacurau (Nighthawk) (2020) The film succeeds as a stingingly personal missive aimed squarely at Brazil's right-wing president.‐ Slant Magazine
Read More | Posted Jun 3, 2019
96% Atlantics (2019) 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. ‐ Slant Magazine
Read More | Posted May 25, 2019
60% Young Ahmed (Le jeune Ahmed) (2020) The Dardennes treat Young Ahmed as a kind of human-interest story, but with a huge dose of suspense thrown in. ‐ Slant Magazine
Read More | Posted May 25, 2019
86% Les Misérables (2020) 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.‐ Slant Magazine
Read More | Posted May 25, 2019
59% Oh Mercy! (Roubaix, une lumière) (2019) 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.‐ Slant Magazine
Read More | Posted May 25, 2019
4/4 85% Once Upon a Time In Hollywood (2019) 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.‐ Slant Magazine
Read More | Posted May 24, 2019
3/4 90% The Lighthouse (2019) 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.‐ Slant Magazine
Read More | Posted May 22, 2019
3/4 80% A Hidden Life (2019) Terrence Malick's film means to seek out souls caught in the tide of history, but which move against its current.‐ Slant Magazine
Read More | Posted May 20, 2019
2.5/4 96% Pain and Glory (Dolor y gloria) (2019) Pedro Almodóvar's latest only occasionally captures the spry, comedic rhythms and impassioned intensity of his finest work.‐ Slant Magazine
Read More | Posted May 18, 2019
2/4 53% Joan of Arc (Jeanne) (2019) Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.‐ Slant Magazine
Read More | Posted May 18, 2019
3.5/4 85% Zombi Child (2020) Bertrand Bonello's quixotic, slow-burn genre film is political largely in the abstract.‐ Slant Magazine
Read More | Posted May 17, 2019
2/4 55% The Dead Don't Die (2019) In Jim Jarmusch's film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality. ‐ Slant Magazine
Read More | Posted May 16, 2019
3/4 100% The Projectionist (2019) The documentary excels as kind of cultural microcosm, rich in its broader implications.‐ Slant Magazine
Read More | Posted May 1, 2019
2/4 83% Creed II (2018) Creed II is absent of both the topically political atmosphere of Rocky IV and the bravura action of Ryan Coogler's Creed.‐ Slant Magazine
Read More | Posted Nov 16, 2018
2/4 80% A Faithful Man (L'homme fidèle) (2019) It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.‐ Slant Magazine
Read More | Posted Oct 8, 2018
3.5/4 100% A Family Tour (2018) Ying Liang's film is righteously and vigorously angry about injustices committed by the Chinese government.‐ Slant Magazine
Read More | Posted Sep 30, 2018
1.5/4 94% Private Life (2018) Instead of offering a probing, nuanced view of the burgeoning technologies and sciences involved in this relatively new outgrowth of the OBGYN industry, though, Tamara Jenkins uses her setting as fodder for lame and discomfiting physical comedy.‐ Slant Magazine
Read More | Posted Sep 26, 2018
3.5/4 99% Ash Is Purest White (2019) It's a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China.‐ Slant Magazine
Read More | Posted May 22, 2018
94% The Wild Pear Tree (Ahlat agaci) (2019) The Wild Pear Tree sees its maker in a kind of self-aware dialogue with himself about the methodologies of his work.‐ Slant Magazine
Read More | Posted May 20, 2018
84% Dogman (2019) Italian director Matteo Garrone's film offers up art-house-by-numbers neorealism with an angle of political-power allegory that quickly turns deterministic and tedious.‐ Slant Magazine
Read More | Posted May 20, 2018
46% Girls of the Sun (Les filles du soleil) (2019) Its most emotionally charged moments buckle under the weight of a ceaseless and manipulative score.‐ Slant Magazine
Read More | Posted May 20, 2018
95% Burning (Beoning) (2018) The film feels like Lee Chang-dong's most reflexive comment on the dramatic possibilities of his favored narrative form.‐ Slant Magazine
Read More | Posted May 18, 2018
3/4 96% BlacKkKlansman (2018) Spike Lee styles the film as a popular entertainment, forgoing the theatrical satire typical of his late-period state-of-the-nation joints, like Bamboozled and Chi-Raq, and settling into the accessible rhythms of the contemporary sitcom.‐ Slant Magazine
Read More | Posted May 17, 2018
4/4 59% The House That Jack Built (2018) The film becomes an even broader consideration of individual fascinations and follies, of ways of responding to art without the boundaries of morality and reason.‐ Slant Magazine
Read More | Posted May 16, 2018
69% Climax (2019) Gaspar Noé's relative narrative economy allows for Climax to feel like only a disappointing missed opportunity.‐ Slant Magazine
Read More | Posted May 14, 2018
3/4 90% The Image Book (Le livre d'image) (2019) The Image Book ends with another display of madness that would be a more than appropriate sendoff for the French New Wave figurehead's restless career. ‐ Slant Magazine
Read More | Posted May 13, 2018
3.5/4 100% Dead Souls (2018) It's the unification of perspective that gives Dead Souls its authority, and allows it to become an incisive reappropriation of collectivist solidarity.‐ Slant Magazine
Read More | Posted May 12, 2018
3/4 92% Cold War (Zimna wojna) (2018) The film is most exhilarating as a breathless vessel for mood, one that just so happens to conduct itself within reconstructed period settings that are as obsessively detailed as the reverently curated soundtrack.‐ Slant Magazine
Read More | Posted May 11, 2018
82% Sorry Angel (Plaire, aimer et courir vite) (2019) Christophe Honoré's playful pop instincts are on display throughout the film in short, affecting bursts.‐ Slant Magazine
Read More | Posted May 10, 2018
79% Leto (2019) Russian director Kirill Serebrennikov's film turns Leningrad's early-'80s rock boom into a winking 24 Hour Party People-like doodle.‐ Slant Magazine
Read More | Posted May 10, 2018
76% Yomeddine (2019) The way everything just "works out" in the end for the characters on the strength of just their pluck and perseverance makes the film secretly more conservative than it thinks it is.‐ Slant Magazine
Read More | Posted May 10, 2018
2.5/4 78% Everybody Knows (Todos lo saben) (2019) Too much of Everybody Knows telegraphs a mechanical, deterministic logic that negates the film's more emotionally combustible energy.‐ Slant Magazine
Read More | Posted May 9, 2018
3/4 89% MATANGI/MAYA/M.I.A. (2018) Stephen Loveridge fully understands that even the trifurcated title of his film may not be entirely equipped at capturing the extent of M.I.A.'s many-faceted identity.‐ Slant Magazine
Read More | Posted Mar 20, 2018
2.5/4 90% Star Wars: The Last Jedi (2017) For those hoping that there may have been a substantial uptick in quality between J.J. Abrams's The Force Awakens and Rian Johnson's The Last Jedi-in much the same way that The Empire Strikes Back improved on Star Wars-you may need a new hope. ‐ Slant Magazine
Read More | Posted Dec 12, 2017
2.5/4 97% The Rider (2018) It manifests a mounting sense of disillusionment, suggesting that the rodeo lifestyle many characters so unreservedly romanticize often leads to physical and psychological ruin.‐ Slant Magazine
Read More | Posted Oct 10, 2017
3/4 94% Call Me by Your Name (2018) Call Me by Your Name is a fairly straightforward coming-of-age story that's at its finest in moments when the relationships take on larger meanings than their literal context implies, and Luca Guadagnino finds evocative aesthetic expressions for them. ‐ Slant Magazine
Read More | Posted Oct 3, 2017
1/4 91% A Ghost Story (2017) An empty exercise in imitative long-take aestheticism, A Ghost Story fills its distractingly round-cornered frame with endless repetitions on a visual gag. ‐ Slant Magazine
Read More | Posted Jul 2, 2017
98% BPM (Beats Per Minute) (120 battements par minute) (2017) It offers not only compelling social-realist ideas on its surface, but finds visually evocative ways to express them.‐ Slant Magazine
Read More | Posted May 26, 2017
92% Good Time (2017) The film is at its strongest when it keys its intoxicating aesthetic to Robert Pattinson's performance.‐ Slant Magazine
Read More | Posted May 25, 2017
88% Claire's Camera (La caméra de Claire) (2018) The breezy Claire's Camera isn't only charming and funny, but also one of Hong's most formally intuitive and sharply written films in some time.‐ Slant Magazine
Read More | Posted May 25, 2017
1/4 53% Godard Mon Amour (Le redoutable) (2018) Michel Hazanavicius co-opts Godard's personal life for cheap prestige-picture sentiment.‐ Slant Magazine
Read More | Posted May 22, 2017
86% Let the Sunshine In (Un beau soleil intérieur) (2018) Claire Denis's Let the Sunshine In is an exquisite romantic comedy whose laughs are sad and whose sadness is funny. ‐ Slant Magazine
Read More | Posted May 19, 2017
87% Okja (2017) Okja suggests that the sarcastic humor of Bong Joon-ho's best films doesn't translate well.‐ Slant Magazine
Read More | Posted May 19, 2017
68% Wonderstruck (2017) The meticulousness of Todd Haynes's execution overburdens his work's conceptually exhilarating sense of wonder.‐ Slant Magazine
Read More | Posted May 19, 2017
3/4 51% Ismael's Ghosts (Les fantômes d'Ismaël) (2018) Arnaud Desplechin's latest simultaneously collapses and expands his entire body of work, reflexively revealing its many layers, like a pop-up book.‐ Slant Magazine
Read More | Posted May 18, 2017
3/4 84% Tom of Finland (2017) Dome Karukoski often excels at elevating his linear, historically conscious plotting with more abstract symbolism and ellipsis.‐ Slant Magazine
Read More | Posted May 11, 2017
2/4 47% Paris Can Wait (Bonjour Anne) (2017) The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.‐ Slant Magazine
Read More | Posted May 7, 2017