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Mark Hanson

Mark is a writer and curator from Toronto, Canada, and the product manager at Bay Street Video, one of North America's last remaining video stores.

Paradise City

Paradise City Review: John Travolta Comes to Play in Chuck Russell’s Inept Schlockfest

by Mark Hanson
November 7, 2022

If only everyone else had followed Travolta’s lead, then the film might have lived up to its title.

Hellraiser

Hellraiser Review: What Is Your Displeasure, Sir?

by Mark Hanson
October 5, 2022

David Bruckner’s Hellraiser is a toothlessly retrograde enterprise.

Sick

Sick Review: Kevin Williamson’s Return to the Slasher Is Shot Through with Covid Anxities

by Mark Hanson
September 18, 2022

Throughout, director John Hyams brings kinetic heat to Sick’s slasher trappings.

How to Blow Up a Pipeline

How to Blow Up a Pipeline Review: An Eco-Thriller That Rages Against the Machine

by Mark Hanson
September 17, 2022

Few films feel as excitingly jacked in to our current social climate as How to Blow Up a Pipeline.

The Good Nurse

‘The Good Nurse’ Review: Tobias Lindholm’s True-Crime Goes Heavy on Manufactured Suspense

by Mark Hanson
September 16, 2022

For a while, the performances are nuanced enough to distract from the film’s implausibilities.

Wendell & Wild

Wendell & Wild Review: Henry Selick Goes to Hell

by Mark Hanson
September 15, 2022

Wendell & Wild is easily legible as a retread of Henry Selick’s past work.

The Banshees of Inisherin

The Banshees of Inisherin Review: A Tragicomic Look at Loneliness

by Mark Hanson
September 15, 2022

Martin McDonagh’s film is a mordantly funny dark fable about men’s inability to work together for the betterment of society.

The Whale

The Whale Review: Fatphobia Sinks Darren Aronofsky’s Drama

by Mark Hanson
September 13, 2022

With The Whale, Aronofsky brings a hollow sense of dignity to his schematic brand of cinematic misery porn.

Weird: The Al Yankovic Story

Weird: The Al Yankovic Story Review: Parody That Dares to Be Stupid

by Mark Hanson
September 11, 2022

Weird accordingly—or is it accordion-gly?—takes everything to new heights of glorious ridiculousness.

The Inspection

The Inspection Review: Elegance Bratton’s Military Drama Hews to Formula

by Mark Hanson
September 10, 2022

The film is too invested in treacly optimism for its character dynamics to feel sketched out beyond their basic narrative function.

Holy Spider

‘Holy Spider’ Review: Ali Abbasi’s Arresting Mix of Social Realism and Exploitation

by Mark Hanson
September 9, 2022

The film compellingly positions misogyny as an unending inherited nightmare.

Queens of the Qing Dynasty

Queens of the Qing Dynasty Review: Pushing Against the Limits of Control

by Mark Hanson
September 9, 2022

Ashley McKenzie’s film blossoms into a moving story about two people trapped by the institutions that they’re beholden to.

Orphan: First Kill

Orphan: First Kill Review: A Dreary Legacy Prequel Without Surprises

by Mark Hanson
August 15, 2022

William Brent Bell’s film proves that not every horror concept has the potential to be franchised.

Fall

Fall Review: A Proudly Dumb and Panic Attack-Inducing Roller-Coaster Ride

by Mark Hanson
August 10, 2022

Scott Mann’s film succeeds by simply committing to and steadily ratcheting up the ludicrous awesomeness of its premise.

Dashcam

Dashcam Review: Night of the MAGA Troll

by Mark Hanson
June 1, 2022

Dashcam is every bit the empty provocation as the troll at its center.

Crimes of the Future

‘Crimes of the Future’ Review: A Body Horror Freak-Out That’s Juicy with Meaning

by Mark Hanson
May 26, 2022

David Cronenberg stares upon humanity’s need to evolve toward some kind of survival with a serene, godlike assurance.

There Are No Saints

There Are No Saints Review: A Messy, Intoxicating Shot of B-Movie Adrenaline

by Mark Hanson
May 23, 2022

At its best, Alfonso Pineda Ulloa’s film gleefully embodies the grungy spirit of classic exploitation cinema.

The Unbearable Weight of Massive Talent

The Unbearable Weight of Massive Talent Review: A Meta-Lite Tribute to a Legend

by Mark Hanson
April 14, 2022

Despite this clever setup, Tom Gormican’s film isn’t the self-reflexive skewering of Hollywood that one might expect.

The Northman

The Northman Review: Robert Eggers’s Programmatic Blast from a Viking Past

by Mark Hanson
April 11, 2022

Robert Eggers’s The Northman doesn’t lack for blood and guts, but it doesn’t play enough in the well of the weird.

The Contractor

The Contractor Review: Chris Pine Steps into the Boots of a Rote Action Hero

by Mark Hanson
March 28, 2022

The film’s rote action-movie plotting is calibrated in a ponderously straight-faced way so as to give it some semblance of gravity.

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