Chris Feil Movie Reviews & Previews - Rotten Tomatoes

Chris Feil

Chris Feil
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
C- 69% The Oath (2018) There's a steady miscalibration to both its laughs and tension, the rhythms of the film seldom clicking into place...‐ Filmmixtape
Read More | Posted Oct 16, 2018
C 72% Bad Times at the El Royale (2018) The film is rather unevenly paced, with each new chapter stalling the film rather than intensifying it.‐ Film Experience
Read More | Posted Oct 11, 2018
D 85% The Wife (2018) Too bad we don't buy any of it - not the initiating circumstances of the secret, nor any of its fallout.‐ Filmmixtape
Read More | Posted Oct 10, 2018
C 86% Colette (2018) Colette is ultimately passive where the material begs to challenge...‐ Filmmixtape
Read More | Posted Oct 10, 2018
C- 64% Beautiful Boy (2018) We can find what's real among its mess, but the film doesn't lead us there.‐ Filmmixtape
Read More | Posted Oct 10, 2018
B+ 90% A Star Is Born (2018) ... this update of the classic love story is crafted with a palpable affection and passion. Cooper's take is personal, ingenious, and raw.‐ Filmmixtape
Read More | Posted Oct 1, 2018
A 98% Wildlife (2018) It's the kind of piercing portrait of a family that makes you want to marinate in all of its surprising details just as you desperately want to escape its breathlessly realized pain.‐ Film Experience
Read More | Posted Sep 16, 2018
B 90% The Old Man & the Gun (2018) The Old Man and the Gun is a solid bit of mythmaking, but Spacek is its richest joy.‐ Film Experience
Read More | Posted Sep 16, 2018
A- 95% Widows (2018) Captured with cruel beauty by cinematographer Sean Bobbitt, Widows is another psychologically immersive and exhaustive piece from McQueen.‐ Film Experience
Read More | Posted Sep 16, 2018
A- 100% Can You Ever Forgive Me? (2018) Marielle Heller's Can You Ever Forgive Me? is the rarest of comedies, as lovely as it is scabrous...‐ Film Experience
Read More | Posted Sep 16, 2018
B+ 87% Diamantino (2018) Think of it like John Waters' Austin Powers with kitsch replaced by mild psychedelia and a smart vantage on contemporary sexual persona and global evils. ‐ Film Experience
Read More | Posted Sep 16, 2018
B- 88% Rafiki (2018) Whereas other films might make Ziki and Kena's trials tell a story of queer suffering, Kahiu's is one of sweetness.‐ Film Experience
Read More | Posted Sep 16, 2018
B- 47% Touch Me Not (2018) Pintilie molds Touch Me Not with a painful intimacy that dares you to look away from its frankness...‐ Film Experience
Read More | Posted Sep 16, 2018
C- 7% The Death and Life of John F. Donovan (2018) The film wants to be taken seriously, its earnestness only ever fleetingly successful at being a critique of our perception of it.‐ Film Experience
Read More | Posted Sep 16, 2018
B 90% Climax (2018) Its first group dance sequence is worth price of admission alone, delivering a one-take dose of creative ecstasy, a gay fantasia among the most singularly thrilling film moments of the year.‐ Film Experience
Read More | Posted Sep 16, 2018
C 89% Giant Little Ones (2018) [I]t feels built on the backs of its predecessors both straight and not.‐ Film Experience
Read More | Posted Sep 16, 2018
B No Score Yet Bulbul Can Sing (2018) Wrought for feeling without catharsis, Bulbul Can Sing is notable for its beauty and wise queer adjacencies.‐ Film Experience
Read More | Posted Sep 16, 2018
C+ 73% Jeremiah Terminator LeRoy (2018) [F]or a subject known for such personality, this biopic (of sorts) struggles to find one of its own.‐ Film Experience
Read More | Posted Sep 16, 2018
B+ 100% Gloria Bell (2018) The film is designed to make Gloria an audience surrogate... When she triumphs, the film builds to something euphoric.‐ Film Experience
Read More | Posted Sep 16, 2018
B 65% The Little Stranger (2018) For those of us drawn to its musty atmospherics led by its tip-of-the-iceberg character deceptions, The Little Stranger is kind of a rarity.‐ Film Experience
Read More | Posted Sep 16, 2018