Jake Cole

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Slant Magazine
For 321 reviews, this critic has graded:
  • 30% higher than the average critic
  • 5% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Jake Cole's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 A Hard Day's Night
Lowest review score: 0 No Escape
Score distribution:
  1. Positive: 173 out of 321
  2. Mixed: 46 out of 321
  3. Negative: 102 out of 321
321 movie reviews
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    • 80 Metascore
    • 88 Jake Cole
    The Settlers
    The film is a blistering laceration of the contradictions and hypocrisies of European racism.
    • 80 Metascore
    • 75 Jake Cole
    Red Rooms
    Red Rooms interrogates how the only thing preventing someone from being sucked down a moral whirlpool is to catch sight of their own zombified reflection on their computer screen.
    • 79 Metascore
    • 75 Jake Cole
    Time Bandits
    Good as the cameos are, however, the lasting draw of the film is its exceptional aesthetic. Gilliam keeps his camera low in a child’s perspective, and wide-angle lenses only exacerbate the magnified sense of scale that everything has.
    • 79 Metascore
    • 38 Jake Cole
    Ava
    The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
    • 79 Metascore
    • 63 Jake Cole
    Mountains May Depart
    It's the first segment that feels the most fleshed out, for how well it presents characters with actual lives as compared to the thinly veiled talking points of the film's second half.
    • 79 Metascore
    • 88 Jake Cole
    Dune: Part Two
    Denis Villeneuve’s film, like its predecessor, offers an object lesson in the visual splendor made possible by meticulously storyboarded minimalist maximalism.
    • 79 Metascore
    • 75 Jake Cole
    An Angel at My Table
    Jane Campion upends staid genre convention with an impressionistic approach to character.
    • 79 Metascore
    • 75 Jake Cole
    One Second
    One Second is as much a tribute to the struggles of a man whose life has stolen from him as it is to a bygone way of looking at movies.
    • 78 Metascore
    • 63 Jake Cole
    Top Gun: Maverick
    The film fully surrenders to the grandiose fun that’s marked the best of Tom Cruise’s recent star vehicles and reaffirms Joseph Kosinski as a blockbuster craftsman par excellence.
    • 78 Metascore
    • 38 Jake Cole
    Tori and Lokita
    The film subjects its main characters to one indignity after another, and to such a suffocating degree that it crosses the line between representation and exploitation.
    • 78 Metascore
    • 38 Jake Cole
    Gloria Bell
    The film’s open-ended narrative tends to be undermined by the simplicity of its thematic signifiers.
    • 78 Metascore
    • 75 Jake Cole
    The Shadowless Tower
    The characters’ generational angst humanizes the film’s view of a nation at a crossroads.
    • 78 Metascore
    • 75 Jake Cole
    Saloum
    With expert visual precision, the film flows into each new, wild narrative wrinkle as if it were the most logical thing in the world.
    • 78 Metascore
    • 50 Jake Cole
    Non-Fiction
    Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
    • 78 Metascore
    • 63 Jake Cole
    1917
    The most thrilling and haunting details here are actively undermined by the chief technical gimmick of the film.
    • 77 Metascore
    • 75 Jake Cole
    Fancy Dance
    Erica Tremblay’s granular attention to place makes sure that you take note of the root causes of the defeat felt by the Native characters.
    • 77 Metascore
    • 75 Jake Cole
    The Gift
    Joel Edgerton's boilerplate direction is a blessing for a genre increasingly saddled with literal visualizations of madness.
    • 77 Metascore
    • 88 Jake Cole
    Personal Shopper
    The film explores the extent to which Olivier Assayas’s characters have always found, and lost, their identities through the aid of their surroundings.
    • 77 Metascore
    • 50 Jake Cole
    Ailey
    Not even Alvin Ailey’s peers can articulate the innovations and soulfulness of his choreography half as well as his work itself.
    • 77 Metascore
    • 63 Jake Cole
    Project Hail Mary
    Phil Lord and Christopher Miller put a comedic spin on Andy Weir’s more straightforward 2021 novel Project Hail Mary, recasting the author’s hopeful vision of productive communication with extraterrestrials as an unlikely buddy comedy.
    • 77 Metascore
    • 88 Jake Cole
    Jauja
    Other films of this ilk use widescreen composition to highlight a terrifying existential void, but these cramped frames tend to produce the nutty energy of cabin fever.
    • 77 Metascore
    • 63 Jake Cole
    Logan
    It recognizes that the thinly veiled secret of Wolverine’s loner act is that he’s always been a cog of some kind.
    • 76 Metascore
    • 75 Jake Cole
    The Disaster Artist
    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.
    • 76 Metascore
    • 63 Jake Cole
    Maggie's Plan
    As a writer and director, Rebecca Miller is at her best when she finds the shared wavelengths of her lead cast's divergent styles.
    • 76 Metascore
    • 88 Jake Cole
    The Cranes Are Flying
    One of the greatest films of the Soviet era.
    • 50 Metascore
    • 50 Jake Cole
    Into the Ashes
    Aaron Henry is prone to pulling back from any moment that might give greater depth to his revenge tale.
    • 42 Metascore
    • 25 Jake Cole
    Locked Down
    Had the filmmakers taken a more easygoing approach, Locked Down might have landed in the realm of The Thomas Crown Affair.
    • 76 Metascore
    • 100 Jake Cole
    The Tales of Hoffmann
    Though lacking the thematic depth that characterized the Archers’ earlier work, The Tales of Hoffmann ranks among their finest triumphs for its purely aesthetic self-justification.
    • 75 Metascore
    • 88 Jake Cole
    Ali & Ava
    Ali & Ava once again showcases Clio Barnard’s uncanny ability to capture the insoluble complexities of life.
    • 75 Metascore
    • 75 Jake Cole
    The Load
    Chromatically, The Load makes Saving Private Ryan look like The Band Wagon. Yet Glavonic still manages to convey the devastation and numbness that results from atrocity without resorting to exploitation. Trauma is approached obliquely, more a subliminal fact of life than a single psychological rupture to be confronted and mended.
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