Sam C. Mac

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Slant Magazine
For 60 reviews, this critic has graded:
  • 26% higher than the average critic
  • 0% same as the average critic
  • 74% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Sam C. Mac's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 To the Ends of the Earth
Lowest review score: 25 Lady Macbeth
Score distribution:
  1. Positive: 40 out of 60
  2. Mixed: 12 out of 60
  3. Negative: 8 out of 60
60 movie reviews
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per page
    • 78 Metascore
    • 50 Sam C. Mac
    I, Daniel Blake
    It's pock-marked by the conservative dramatic conventions and broad political gestures that have marred much of Ken Loach's recent output.
    • 78 Metascore
    • 50 Sam C. Mac
    Beach Rats
    Beach Rats is most compelling when it puts a self-aware focus on Harris Dickinson’s sculpted male figure.
    • 77 Metascore
    • 50 Sam C. Mac
    The Jungle Book
    Jon Favreau draws heavily on his film's animated predecessor for plot, characterizations, and more, but doesn't know how to fit these familiar elements into his own coherent vision.
    • tbd Metascore
    • 50 Sam C. Mac
    The Calming
    Song Fang’s latest moves glacially along in a largely unchanging emotional register, always keeping us at a distance.
    • 67 Metascore
    • 50 Sam C. Mac
    A Faithful Man
    It reveals itself as neither committed New Wave subversion nor skillful homage, but rather a weak and uninspired imitation.
    • 66 Metascore
    • 50 Sam C. Mac
    Creed II
    Creed II is absent of both the topically political atmosphere of Rocky IV and the bravura action of Ryan Coogler's Creed.
    • 57 Metascore
    • 50 Sam C. Mac
    Ip Man 3
    Donnie Yen's performance is so good that it's a shame Wilson Yip's films have never strived to be more than briskly entertaining hagiography.
    • 53 Metascore
    • 50 Sam C. Mac
    The Dead Don't Die
    In Jim Jarmusch’s film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
    • 51 Metascore
    • 50 Sam C. Mac
    The Neon Demon
    The simmering insinuations of Nicolas Winding Refn's film eventually flower into full-on exploitation.
    • 50 Metascore
    • 50 Sam C. Mac
    Joan of Arc
    Bruno Dumont seems perpetually aware of the trap of familiarity, which may be why he indulges in some of his most inscrutable filmmaking.
    • 48 Metascore
    • 50 Sam C. Mac
    Paris Can Wait
    The film leaves the lasting impression of a story that takes place in its own elitist and hermetically sealed world.
    • tbd Metascore
    • 50 Sam C. Mac
    The Old Town Girls
    The Old Town Girls never seems to have a strong enough sense of the kind of film it wants to be to pull together its more interesting elements into a coherent whole.

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