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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    • 76 Metascore
    • 50 Mark Hanson
    Incredible But True
    Quentin Dupieux’s latest endlessly draws out every stilted interaction for maximum deadpan effect.
    • 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.
    • 62 Metascore
    • 63 Mark Hanson
    Dual
    Riley Stearns’s film consistently tickles the funny bone, even when it comes at the expense of psychological nuance.
    • 67 Metascore
    • 12 Mark Hanson
    Fresh
    Fresh is pitched as a kind of genre corrective, except its tone-deaf cheekiness only results in a feeling of dreary regression.
    • 78 Metascore
    • 63 Mark Hanson
    Speak No Evil
    Until its contrived conclusion, the film plays as a queasy satire of conditioned interpersonal behavior.
    • 44 Metascore
    • 63 Mark Hanson
    Clean
    While its plot is strictly by the numbers, Clean is elevated by its stylistic flair and propulsive pace.
    • 85 Metascore
    • 63 Mark Hanson
    The Novice
    At its best, the film suggests some kind of hellish Nike commercial, where “just do it” becomes less an inspirational motto than a grueling portent of doom.
    • 52 Metascore
    • 25 Mark Hanson
    National Champions
    As a peek into the relationship between sports, media and capitalism, National Champions feels like a beginner’s playbook.
    • 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.
    • 44 Metascore
    • 50 Mark Hanson
    Resident Evil: Welcome to Raccoon City
    Johannes Roberts’s prequel ultimately remains buried by its indifference to unchecked corporate power.
    • 78 Metascore
    • 63 Mark Hanson
    The Summit of the Gods
    While the film intermittently stuns in revealing Everest’s topographical mystique, its expedition into what makes climbers tick struggles to get off the ground.
    • 27 Metascore
    • 25 Mark Hanson
    Dangerous
    Dangerous betrays the promise of its title by playing things extremely safe.
    • 57 Metascore
    • 38 Mark Hanson
    Antlers
    In Antlers, the big bad is never supposed to be as scary as society’s collective wrongdoing.
    • 42 Metascore
    • 25 Mark Hanson
    Needle in a Timestack
    The film is too blinded by manufactured sentimentality to see the more compelling what-if scenario lying right in front of its eyes.
    • 45 Metascore
    • 50 Mark Hanson
    There's Someone Inside Your House
    The film feels like a missed opportunity to interrogate society’s fervent need to make pariahs out of people for their past mistakes.
    • 45 Metascore
    • 50 Mark Hanson
    Mayday
    The film circles a thorny premise, which makes it all the more disappointing that it results in a conventional clinch.
    • 59 Metascore
    • 50 Mark Hanson
    The Forgiven
    Whatever satire of white elite society is intended by The Forgiven has been blunted by monotony.
    • 75 Metascore
    • 63 Mark Hanson
    Belfast
    Kenneth Branagh's film understands the malleability of memory, and it embodies cinema’s ability to offer a kind of escapism, but up until its climax it plays like a retreat from reality.
    • 74 Metascore
    • 38 Mark Hanson
    Dune: Part One
    Dune ends up feeling like an extended prologue for what one can only hope will be a sequel that will clarify its parables and paradoxes.
    • 65 Metascore
    • 50 Mark Hanson
    Last Night in Soho
    In the end, Edgar Wright isn’t particularly interested in taking aim at all that is dark in the zealotry that shapes a culture.
    • 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.
    • 54 Metascore
    • 63 Mark Hanson
    The Voyeurs
    It’s hard to deny that Michael Mohan’s preposterous fable doesn’t exert the dark pull of voyeurism itself.
    • 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.
    • 67 Metascore
    • 50 Mark Hanson
    No Man of God
    As an exploration of the misogyny that drove Bundy’s crimes, Amber Sealey’s film mostly falls short of its potential.
    • 68 Metascore
    • 63 Mark Hanson
    Homeroom
    Despite the film’s narrow scope, it’s hard to not be impressed by the political and civic engagement of its teen subjects.
    • 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.
    • 47 Metascore
    • 38 Mark Hanson
    The Evening Hour
    In spite of the film’s strikingly lived-in sense of place, the script’s melodramatic storytelling works against that verisimilitude.
    • 24 Metascore
    • 0 Mark Hanson
    Midnight in the Switchgrass
    Randall Emmett’s directorial debut is virtually indistinguishable from the scores of cheap VOD action thrillers that he’s produced to date.
    • 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.
    • 52 Metascore
    • 38 Mark Hanson
    First Date
    The shadow of Risky Business looms large, and distractingly, over Manuel Crosby and Darren Knapp’s film.
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