Mark Hanson

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Slant Magazine
For 65 reviews, this critic has graded:
  • 18% higher than the average critic
  • 7% 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 Banshees of Inisherin
Lowest review score: 0 Midnight in the Switchgrass
Score distribution:
  1. Positive: 31 out of 65
  2. Mixed: 12 out of 65
  3. Negative: 22 out of 65
65 movie reviews
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    • 29 Metascore
    • 25 Mark Hanson
    Paradise City
    If only everyone else had followed John Travolta’s lead, then the film might have lived up to its title.
    • 55 Metascore
    • 12 Mark Hanson
    Hellraiser
    Any ambiguity over the veracity of the story’s events is quickly jettisoned to adhere to the demands of the leaden slasher-film plotting.
    • 87 Metascore
    • 88 Mark Hanson
    The Banshees of Inisherin
    As dark as things get, the film never abandons its sly sense of humor.
    • 86 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.
    • 65 Metascore
    • 50 Mark Hanson
    The Good Nurse
    For a while, the work on the part of the performers is nuanced enough to distract us from the film’s implausibilities.
    • 62 Metascore
    • 63 Mark Hanson
    Sick
    Throughout, the film’s characters impressively hold their own when forced to defend their lives, with director John Hyams catching every incident of bone-crunching mayhem as if he were shooting a martial arts film.
    • 69 Metascore
    • 50 Mark Hanson
    Wendell & Wild
    Henry Selick’s flair for phantasmagorical sights is on full display, though Wendell & Wild’s excessively CGI-enhanced look is a far cry from the grounded tactility of much of his prior work.
    • 60 Metascore
    • 38 Mark Hanson
    The Whale
    With The Whale, Darren Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.
    • 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.
    • 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.
    • 84 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.
    • 54 Metascore
    • 25 Mark Hanson
    Orphan: First Kill
    William Brent Bell’s film proves that not every horror concept has the potential to be franchised.
    • 62 Metascore
    • 63 Mark Hanson
    Fall
    Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.
    • 48 Metascore
    • 50 Mark Hanson
    Dashcam
    Dashcam is nothing if not consistent, as it’s every bit the empty provocation as the troll at its center.
    • 67 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.
    • 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.
    • 68 Metascore
    • 63 Mark Hanson
    The Unbearable Weight of Massive Talent
    Despite this clever setup, Tom Gormican’s film isn’t the self-reflexive skewering of Hollywood that one might expect.
    • 82 Metascore
    • 63 Mark Hanson
    The Northman
    While the canvas of Robert Eggers latest is considerably broader than that of The Witch and the Lighthouse, it feels as if its psychological chaos hasn’t expanded accordingly.
    • 52 Metascore
    • 38 Mark Hanson
    The Contractor
    The film’s rote action-movie plotting is calibrated in a ponderously straight-faced way so as to give it some semblance of gravity.
    • 74 Metascore
    • 38 Mark Hanson
    You Are Not My Mother
    The primacy that it places on its dopamine drip of dread undercuts whatever genuine commitment it might have toward mental illness and trauma.
    • 79 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.
    • 48 Metascore
    • 38 Mark Hanson
    Gold
    Throughout, Efron seems almost determined to wipe away the last vestiges of his youthful looks.
    • 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.
    • 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.
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