Mark Hanson

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Slant Magazine
For 102 reviews, this critic has graded:
  • 19% higher than the average critic
  • 6% same as the average critic
  • 75% lower than the average critic
On average, this critic grades 13.2 points lower than other critics. (0-100 point scale)

Mark Hanson's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 88 The Visitor
Lowest review score: 0 Midnight in the Switchgrass
Score distribution:
  1. Positive: 48 out of 102
  2. Mixed: 21 out of 102
  3. Negative: 33 out of 102
102 movie reviews
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    • 83 Metascore
    • 88 Mark Hanson
    The Visitor
    The Visitor ultimately posits a vision of transcendence through anarchy, seeing repression as the enemy of social progress.
    • 82 Metascore
    • 88 Mark Hanson
    Concrete Valley
    Concrete Valley reveals itself as a thrilling example, both in form and content, of the way that the fostering of community allows us to regain some measure of control over life’s adversities.
    • 87 Metascore
    • 88 Mark Hanson
    The Banshees of Inisherin
    As dark as things get, the film never abandons its sly sense of humor.
    • 65 Metascore
    • 75 Mark Hanson
    Swan Song
    The disconnect between the realities of different generations of gay men is one of Swan Song’s most unexpectedly joyful through lines.
    • 91 Metascore
    • 75 Mark Hanson
    The Secret Agent
    More broadly appealing than Kleber Mendonça Filho’s past films, The Secret Agent is still unmistakeably the work of an artist who’s deeply fascinated with the ways in which cinema, politics, and personal history co-mingle.
    • 71 Metascore
    • 75 Mark Hanson
    Heretic
    Heretic intriguingly plays with our expectations of who the heroes and villains are in this scenario.
    • 68 Metascore
    • 75 Mark Hanson
    Crimes of the Future
    David Cronenberg stares upon humanity’s need to evolve toward some kind of survival with a serene, godlike assurance.
    • 76 Metascore
    • 75 Mark Hanson
    How to Blow Up a Pipeline
    Few films feel as excitingly jacked in to our current social climate as Daniel Goldhaber’s How to Blow Up a Pipeline.
    • 80 Metascore
    • 75 Mark Hanson
    Anne at 13,000 ft
    The film intimately immerses us in the psyche of a woman for whom each day is a minefield of uncomfortable interactions.
    • 78 Metascore
    • 75 Mark Hanson
    Queens of the Qing Dynasty
    Ashley McKenzie’s film blossoms into a moving story about two people trapped by the institutions that they’re beholden to.
    • 91 Metascore
    • 75 Mark Hanson
    Anora
    The film’s initial pull lies in the way that Sean Baker intoxicatingly keys his aesthetic to the fervor of a budding romance that we clearly know won’t end well.
    • 66 Metascore
    • 75 Mark Hanson
    Holy Spider
    Holy Spider trickily manages to bridge the gap between social realism and exploitation cinema in a way that hints at how both are rooted in a similar place of gritty authenticity.
    • 70 Metascore
    • 75 Mark Hanson
    Resurrection
    The film is one of the more intrinsically frightening evocations of a traumatized mind since Twin Peaks: Fire Walk with Me.
    • 51 Metascore
    • 75 Mark Hanson
    Taurus
    Taurus is in the business of self-aggrandizement, but this is a film that understands that stardom is inherently aggrandizing.
    • 74 Metascore
    • 75 Mark Hanson
    The Witches of the Orient
    The film’s fanciful archival montages shrewdly demonstrate the ways in which memory and art seamlessly combine to document reality.
    • 91 Metascore
    • 75 Mark Hanson
    It Was Just an Accident
    The film is astutely aware of the physical and psychological scars that that result from living in a state of tyranny.
    • 74 Metascore
    • 75 Mark Hanson
    Dream Scenario
    Kristoffer Borgli’s film presents a perfectly absurdist setup that allows Nicolas Cage to flex his singular acting muscles in increasingly hilarious directions.
    • 69 Metascore
    • 75 Mark Hanson
    Rumours
    The film is winningly defined by its peculiar admixture of national pride and self-deprecation.
    • 47 Metascore
    • 75 Mark Hanson
    AGGRO DR1FT
    It may indeed be the perfect cinematic representation of our current media landscape, adapting to our collective brain rot from being terminally online instead of fighting against it.
    • tbd Metascore
    • 75 Mark Hanson
    The Sleeping Negro
    Though often abstract in its imagery, the film’s blistering commentary remains firmly rooted in our present reality.
    • 82 Metascore
    • 75 Mark Hanson
    Rose of Nevada
    The film plunges us into a world that feels simultaneously naturalistic and otherworldly.
    • 76 Metascore
    • 75 Mark Hanson
    Spencer
    Pablo Larraín’s film readily conjures a paranoia-suffused atmosphere of fear for what might happen at any moment.
    • 86 Metascore
    • 75 Mark Hanson
    Anatomy of a Fall
    At its best, Anatomy of a Fall is nothing less than a rigorous modern treatise on the knotty interpersonal dynamics of long-term relationships and how conveniently they can be distorted when exposed to public scrutiny.
    • 78 Metascore
    • 75 Mark Hanson
    We're All Going to the World's Fair
    Throughout, Jane Schoenbrun reveals themself to be adroitly plugged into both the current technological and sociological landscape.
    • 70 Metascore
    • 75 Mark Hanson
    Weird: The Al Yankovic Story
    Weird accordingly (or is it accordion-gly?) takes everything to new heights of glorious ridiculousness.
    • 84 Metascore
    • 75 Mark Hanson
    Sirât
    The film is a vivid meditation on human possibility in the face of fate and nature’s tumultuous might, ending in a fog of ambiguity that mirrors that characters’ bewilderment.
    • 44 Metascore
    • 63 Mark Hanson
    Clean
    While its plot is strictly by the numbers, Clean is elevated by its stylistic flair and propulsive pace.
    • 74 Metascore
    • 63 Mark Hanson
    Sweat
    Sweat mostly adheres to a time-honored tale of the pitfalls of fame, despite its ultra-modern context.
    • 30 Metascore
    • 63 Mark Hanson
    There Are No Saints
    At its best, Alfonso Pineda Ulloa’s film gleefully embodies the grungy spirit of classic exploitation cinema.
    • 80 Metascore
    • 63 Mark Hanson
    X
    While still intermittently thrilling as a basic retro-outfitted slasher, X ultimately comes off in a way that no porn (or horror) film should: like a tease.
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