Christopher Gray Movie Reviews & Previews - Rotten Tomatoes

Christopher Gray

Christopher Gray
Christopher Gray's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Slant Magazine

Movie Reviews Only

Rating T-Meter Title | Year Review
3/4 100% One of Us (2017) It's incisive in its condemnation of the oppression innate in the social structure of Brooklyn's Hasidic communities.‐ Slant Magazine
Read More | Posted Oct 15, 2017
3.5/4 100% Lady Bird (2017) A uniquely American comedy, Greta Gerwig's Lady Bird is testy, humane, and firmly rooted in its time and place.‐ Slant Magazine
Read More | Posted Oct 7, 2017
3/4 100% Dina (2017) We come to understand that the camera's distance from its subjects as an act of respect that allows the complex, funny, and indomitable personalities to shine through.‐ Slant Magazine
Read More | Posted Oct 4, 2017
4/4 93% Zama (2017) How strange and apt that the year's most sensorially and ideologically dense film is also a comedy of microaggressions, built on the minor workplace humiliations of a pencil-pusher in the 1790s.‐ Slant Magazine
Read More | Posted Oct 2, 2017
3/4 71% Last Flag Flying (2017) The film is colored by how time reshapes our sense of self, embracing some memories while occluding others, and it ingeniously folds us into a similar state of reflection and uncertainty about previous eras of false optimism about national values. ‐ Slant Magazine
Read More | Posted Sep 28, 2017
2/4 69% mother! (2017) Mother! is a riot of religious symbolism, of-the-moment socio-political valences, and references that attempts to unite themes from nearly all of Darren Aronofsky's work.‐ Slant Magazine
Read More | Posted Sep 13, 2017
2/4 85% Battle of the Sexes (2017) The film sacrifices some of its innate appeal by making ham out of the supposed relics of a less enlightened era.‐ Slant Magazine
Read More | Posted Sep 12, 2017
3/4 93% Spettacolo (2017) Though some of Spettacolo's tension is superficial, the stuff of any let's-put-on-a-show narrative, its latent anxieties are myriad and profoundly resonant.‐ Slant Magazine
Read More | Posted Sep 2, 2017
2/4 30% I Do... Until I Don't (2017) In I Do...Until I Don't, it's hard to tell who's being lampooned and who's being treated with sincerity at any given point.‐ Slant Magazine
Read More | Posted Aug 27, 2017
3/4 93% Logan Lucky (2017) Logan Lucky is both a Robin Hood fantasy and a uniquely Soderberghian lark, an ensemble comedy that's simultaneously effervescent and cerebral. ‐ Slant Magazine
Read More | Posted Aug 15, 2017
3/4 86% Ingrid Goes West (2017) The film is smart enough to know that the last thing any of us need is another think piece about how the internet's promise of global community has yielded a culture of alienation, obsession, and utter exhaustion. ‐ Slant Magazine
Read More | Posted Aug 5, 2017
3.5/4 89% Good Time (2017) The film's dark journey through the night is both candy-colored and scrupulously designed to address how the urban poor interact and negotiate with city services.‐ Slant Magazine
Read More | Posted Jul 30, 2017
1.5/4 87% Wind River (2017) When Taylor Sheridan is left to his own devices, his work seems more abrupt and shallow, no more so than when he resolves all of this film's lingering questions in one unremittingly nasty sideswipe of a flashback. ‐ Slant Magazine
Read More | Posted Jul 29, 2017
3/4 99% City of Ghosts (2017) The director's apparently frank and intimate relationships with the RBSS's heroic journalists help sustain City of Ghosts's undeniable urgency, which culminates in a final image of appropriate, irresolvable anguish.‐ Slant Magazine
Read More | Posted Jul 3, 2017
2/4 11% Kill Switch (2017) Dan Stevens navigates the film's literal and thematic alleyways with the same enthusiastic befuddlement that convinced many to soldier through Legion's more impenetrable stretches. ‐ Slant Magazine
Read More | Posted Jun 11, 2017
2/4 89% It Comes At Night (2017) Just as Trey Edward Shults withholds the "it" of the title, he never attempts to justify the escalating paranoia of his characters.‐ Slant Magazine
Read More | Posted Jun 4, 2017
2/4 77% Beatriz at Dinner (2017) Despite its gestures toward nuance, the very broadness of the dichotomies in the film prove to be its undoing. ‐ Slant Magazine
Read More | Posted Jun 1, 2017
2.5/4 76% The Exception (The Kaiser's Last Kiss) (2017) David Leveaux's film cannily incorporates elements of spycraft and sheer trash into a familiar formula.‐ Slant Magazine
Read More | Posted May 27, 2017
3/4 72% Berlin Syndrome (2017) Until its hasty climax, the film is rewardingly patient and psychologically cogent. ‐ Slant Magazine
Read More | Posted May 22, 2017
2.5/4 71% The Commune (Kollektivet) (2017) The Thomas Vinterberg film's sentimentality is suspect, laced with an intriguing but vague strain of bitterness.‐ Slant Magazine
Read More | Posted May 14, 2017
3/4 100% Last Men in Aleppo (2017) The film is broadly concerned with portraying the titular Syrian city as a community of neighbors and colleagues.‐ Slant Magazine
Read More | Posted May 2, 2017
2.5/4 84% The Lovers (2017) Azazel Jacobs's film takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.‐ Slant Magazine
Read More | Posted Apr 26, 2017
3/4 92% Glory (2017) Its rough-hewn naturalism belies an exquisite sense of pace and a sneaky breed of gallows humor.‐ Slant Magazine
Read More | Posted Apr 9, 2017
3/4 75% All These Sleepless Nights (2017) Director Michal Marczak's film finds a unique vitality in its densely constructed environment.‐ Slant Magazine
Read More | Posted Apr 3, 2017
2.5/4 84% God Knows Where I Am (2017) Though the film excels at subjectivity and interiority, it tends to falter in conveying more rudimentary information.‐ Slant Magazine
Read More | Posted Mar 27, 2017
2.5/4 71% I, Olga Hepnarová (Já, Olga Hepnarová) (2017) The filmmakers take few measures to engender sympathy for Olga, but their prismatic take on her life, while novel, precludes making any resonant statements about homosexuality, emotional health, or humankind's capacity for evil.‐ Slant Magazine
Read More | Posted Mar 20, 2017
2/4 79% T2 Trainspotting (2017) The heart of T2 lies in the relationship between Renton and Sick Boy, but their rocky reunion is another victim both to the wheel-spinning innate in Hodge's script and Boyle's relative lack of fresh ideas. ‐ Slant Magazine
Read More | Posted Mar 15, 2017
2/4 76% Suntan (2017) Argyris Papadimitropoulos struggles to lift his material out of a downbeat mode of cringe comedy.‐ Slant Magazine
Read More | Posted Mar 4, 2017
1/4 25% Table 19 (2017) Each of Table 19's faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.‐ Slant Magazine
Read More | Posted Mar 1, 2017
3/4 98% My Life as a Zucchini (Ma vie de courgette) (2017) The film circumvents bleakness with a thoroughgoing commitment to understanding and intimacy.‐ Slant Magazine
Read More | Posted Feb 20, 2017
2/4 89% Land of Mine (Under Sandet) (2017) Land of Mine's fitful jolts of suspense can't compensate for the story's wholly familiar trajectory.‐ Slant Magazine
Read More | Posted Feb 13, 2017
1/5 10% Fifty Shades Darker (2017) Fifty Shades Darker takes the Dark Knight approach to franchise maintenance, taking pains to assure you that its protagonists are serious about their passions. ‐ Slant Magazine
Read More | Posted Feb 9, 2017
1.5/4 57% Claire in Motion (2017) Throughout, writer-directors Lisa Robinson and Annie J. Howell's film buckles under the weight of its symbolism.‐ Slant Magazine
Read More | Posted Jan 9, 2017
2/4 92% La La Land (2016) Every element of La La Land is bound up in a referentiality that largely precludes the outpourings of emotion we come to musicals for.‐ Slant Magazine
Read More | Posted Dec 5, 2016
3/4 80% Patriots Day (2017) As long as Patriots Day is concerned with recreating the sense of ambient chaos among sparring investigators and an anxious community, it's immersive and thrilling.‐ Slant Magazine
Read More | Posted Nov 28, 2016
88% Jackie (2016) Pablo Larraín's film bluntly hammers home the notion that history is framed by perception rather than reality. ‐ Slant Magazine
Read More | Posted Nov 28, 2016
2/4 86% Hacksaw Ridge (2016) This is a work of defiantly simplistic, classically structured Hollywood storytelling, and Mel Gibson takes to its hokey plot points with some gusto.‐ Slant Magazine
Read More | Posted Oct 28, 2016
3/4 95% The Edge of Seventeen (2016) The smartest thing about Kelly Fremon Craig's teen dramedy is its measured take on its protagonist's theatrics.‐ Slant Magazine
Read More | Posted Oct 23, 2016
2.5/4 46% Billy Lynn's Long Halftime Walk (2016) It does astounding work animating the mind of its young soldier, but it runs into technical difficulties whenever it tries to grasp the bigger picture.‐ Slant Magazine
Read More | Posted Oct 17, 2016
2.5/4 100% Tower (2016) Broadly, filmmaker Keith Maitland's treatment of the UT Tower shooting is both taut and humane.‐ Slant Magazine
Read More | Posted Oct 9, 2016
1.5/4 44% The Girl on the Train (2016) It forgoes its promise of twisty adult thrills in favor of a grimly deadpan lecture about messy truths and false perceptions.‐ Slant Magazine
Read More | Posted Oct 4, 2016
3.5/4 92% Toni Erdmann (2016) By its end, Toni Erdmann is a work of laser-guided social critique and a comedy.‐ Slant Magazine
Read More | Posted Oct 3, 2016
3.5/4 95% Manchester by the Sea (2016) The film gradually comes to its sense of exquisitely calibrated, hardened intimacy. ‐ Slant Magazine
Read More | Posted Oct 2, 2016
89% Voyage of Time: The IMAX Experience (2016) Explicitly addressed to a child, the film can't help but feel like lovingly assembled kiddie fare, a primer for what's said to be a more ambitious and intellectually speculative vision.‐ Slant Magazine
Read More | Posted Sep 27, 2016
2/4 75% Chronic (2016) A dour and withholding character study, Michel Franco's film invites more questions than it's willing to answer. ‐ Slant Magazine
Read More | Posted Sep 19, 2016
2/4 84% Kicks (2016) It's less notable for its originality than for how dynamically it blends a few styles that ultimately prove incompatible.‐ Slant Magazine
Read More | Posted Sep 3, 2016
3/4 100% Peter and the Farm (2016) As the film progresses, Dunning's reflections become as visceral and discomfiting as his butchering of the aforementioned sheep.‐ Slant Magazine
Read More | Posted Sep 2, 2016
2.5/4 74% Disorder (Maryland) (2016) Before Disorder becomes a programmatic and somewhat sloppy home-invasion thriller, it's a particularly vivid portrait of a man warily eyeing the tumult of his homecoming.‐ Slant Magazine
Read More | Posted Aug 5, 2016
1.5/4 26% Five Nights in Maine (2016) Maris Curran never reconciles the film's impulse to interiority with its weakness for hothouse melodrama. ‐ Slant Magazine
Read More | Posted Aug 1, 2016
2/4 66% Nerve (2016) By merely transposing its generic high school clique drama onto an augmented reality platform, Nerve sacrifices most of its novelty.‐ Slant Magazine
Read More | Posted Jul 26, 2016