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Slaughterhouse-Five

Slaughterhouse-Five

Drama · Science Fiction · War · 1972

Billy Pilgrim, a veteran of the Second World War, finds himself mysteriously detached from time, so that he is able to travel, without being able to help it, from the days of his childhood to those of his peculiar life on a distant planet called Tralfamadore, passing through his bitter experience as a prisoner of war in the German city of Dresden, over which looms the inevitable shadow of an unspeakable tragedy.

Movie details

Slaughterhouse-Five

“Billy Pilgrim lives —from time to time to time…”

1972 Drama · Science Fiction · War 1h 40m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Billy Pilgrim, a veteran of the Second World War, finds himself mysteriously detached from time, so that he is able to travel, without being able to help it, from the days of his childhood to those of his peculiar life on a distant planet called Tralfamadore, passing through his bitter experience as a prisoner of war in the German city of Dresden, over which looms the inevitable shadow of an unspeakable tragedy.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Slaughterhouse-Five?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Schindler's List

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Where it lives

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Names above the title

The people responsible.

Directed by

George Roy Hill

Written by

Stephen Geller

Michael Sacks

Michael Sacks

Billy Pilgrim

Ron Leibman

Ron Leibman

Paul Lazzaro

Eugene Roche

Eugene Roche

Derby

S

Sharon Gans

Valencia

Valerie Perrine

Valerie Perrine

Montana Wildhack

Holly Near

Holly Near

Barbara

Perry King

Perry King

Robert

Court is in session

Put Slaughterhouse-Five on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Auteur Devotee

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.