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

T-Meter Title | Year
3/4 80% The Hottest August (2019) The documentary represents a city ground down by inequality and division, where millions of selves who have by and large given up on one another. - Slant Magazine EDIT
Read More | Posted Nov 10, 2019
2.5/4 96% The Kingmaker (2019) The film confirms that the ruthless knack of the wealthy and powerful to remain so is a universal impulse. - Slant Magazine EDIT
Read More | Posted Nov 3, 2019
2/4 93% Monos (2019) Alejandro Landes's film depicts amorality with minimal curiosity and a surplus of numbing stylistic verve. - Slant Magazine EDIT
Read More | Posted Sep 9, 2019
4/4 96% Atlantics (2019) As Mati Diop mourns Senegal's lost men, she honors their grief and affords them tremendous power all at once. - Slant Magazine EDIT
Read More | Posted Sep 5, 2019
2.5/4 98% Portrait of a Lady on Fire (Portrait de la jeune fille en feu) (2019) What's most stirring about Céline Sciamma's film is the lack of artifice in Héloïse and Marianne's feelings for one another. - Slant Magazine EDIT
Read More | Posted Sep 5, 2019
2.5/4 100% Angels Are Made of Light (2019) The film is an intimate portrait of a nation terminally anxious about who will see fit to rule it next. - Slant Magazine EDIT
Read More | Posted Jul 21, 2019
3/4 94% Mike Wallace Is Here (2019) Much like its subject, Avi Belkin's documentary knows how to start an argument. - Slant Magazine EDIT
Read More | Posted Jul 21, 2019
3/4 64% Our Time (Nuestro tiempo) (2019) The film elides politics in order to earnestly consider whether love is necessarily an act of possession. - Slant Magazine EDIT
Read More | Posted Jun 10, 2019
3/4 89% The Raft (2019) The film uses Santiago Genovés's experiment to scrutinize memory and capture the feeling of life under a very curious sort of dictatorship. - Slant Magazine EDIT
Read More | Posted Jun 1, 2019
2/4 58% Under the Silver Lake (2019) Even after the film (quite entertainingly) explains itself, it never feels like more than a howl of frustration and cynicism. - Slant Magazine EDIT
Read More | Posted Apr 18, 2019
2.5/4 96% Hail Satan? (2019) The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre. - Slant Magazine EDIT
Read More | Posted Apr 15, 2019
2.5 100% Combat Obscura (2019) The portrait it paints of its Marines is appropriately discordant, redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission. - Slant Magazine EDIT
Read More | Posted Mar 11, 2019
3/4 95% An Elephant Sitting Still (Da xiang xi di er zuo) (2019) The film's gritty, mundane agonies come to feel like a series of moral tests with genuinely unpredictable outcomes. - Slant Magazine EDIT
Read More | Posted Mar 3, 2019
3.5/4 100% Shirkers (2018) Sandi Tan's view of what the original Shirkers represented, and what her new film should be, proves surprisingly expansive. - Slant Magazine EDIT
Read More | Posted Oct 21, 2018
2.5/4 72% Maya (2018) The film's intimacy is as precise as its intellect is vague. - Slant Magazine EDIT
Read More | Posted Sep 11, 2018
2.5/4 91% Lean on Pete (2018) As sharply as it delineates an America of spotty, informal economies, the film avoids articulating most of the people who live and work in these spaces. - Slant Magazine EDIT
Read More | Posted Apr 1, 2018
3/4 97% Hale County This Morning, This Evening (2018) One of the remarkable things about the film's offhand sense of intimacy is that it emerges from such a diverse shooting style. - Slant Magazine EDIT
Read More | Posted Mar 27, 2018
2.5/4 88% The Workshop (L'atelier) (2018) Matthieu Lucci deftly carries the weight of all the symptoms that The Workshop loads upon Antoine, a resonant character whose inscrutability is at once dangerous, sympathetic, and eerily apt. - Slant Magazine EDIT
Read More | Posted Mar 17, 2018
2.5/4 12% Fifty Shades Freed (2018) The most liberating thing about James Foley's Fifty Shades Freed is that it doesn't even try to make sense of Christian Grey. - Slant Magazine EDIT
Read More | Posted Feb 8, 2018
2/4 93% A Fantastic Woman (Una mujer fantástica) (2018) Superficial when it means to be elliptical and regressive in its attempts to promote pride and tolerance, Sebastián Lelio's film is beautiful but vacant, the type of melodrama that reminds us that they shouldn't always make them like they used to. - Slant Magazine EDIT
Read More | Posted Jan 28, 2018
2.5/4 88% The Post (2018) No American film since Zodiac has exhibited such a love for the way information travels than The Post, but it's nonetheless steeped in self-congratulation. - Slant Magazine EDIT
Read More | Posted Dec 6, 2017
2.5/4 89% I, Tonya (2018) The film's habit of courting and then insulting the viewer is a conscious nod to the cycles of abuse that mark Harding's story, but the filmmakers' attempts to implicate their audience are I, Tonya's broken shoelace, too pat and glib to be convincing. - Slant Magazine EDIT
Read More | Posted Dec 1, 2017
1.5/4 82% Voyeur (2017) It's hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese. - Slant Magazine EDIT
Read More | Posted Nov 26, 2017
2.5/4 91% Brimstone & Glory (2017) Through its energy and inherent beauty, Brimstone & Glory hits concurrent notes of peril and bliss, but even at a scant 67 minutes it can seem a bit aimless and scattershot. - Slant Magazine EDIT
Read More | Posted Nov 17, 2017
1.5/4 87% My Friend Dahmer (2017) The film wants to treat Jeffrey Dahmer like a character, but it invariably frames him like a specimen. - Slant Magazine EDIT
Read More | Posted Oct 28, 2017
3/4 96% 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 EDIT
Read More | Posted Oct 15, 2017
3.5/4 99% 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 EDIT
Read More | Posted Oct 7, 2017
3/4 98% 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 EDIT
Read More | Posted Oct 4, 2017
4/4 96% Zama (2018) 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 EDIT
Read More | Posted Oct 2, 2017
3/4 78% 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 EDIT
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 EDIT
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 EDIT
Read More | Posted Sep 12, 2017
3/4 92% 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 EDIT
Read More | Posted Sep 2, 2017
2/4 28% 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 EDIT
Read More | Posted Aug 27, 2017
3/4 92% 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 EDIT
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 EDIT
Read More | Posted Aug 5, 2017
3.5/4 92% 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 EDIT
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 EDIT
Read More | Posted Jul 29, 2017
3/4 98% 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 EDIT
Read More | Posted Jul 3, 2017
2/4 10% 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 EDIT
Read More | Posted Jun 11, 2017
2/4 87% 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 EDIT
Read More | Posted Jun 4, 2017
2/4 74% 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 EDIT
Read More | Posted Jun 1, 2017
2.5/4 75% 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 EDIT
Read More | Posted May 27, 2017
3/4 75% Berlin Syndrome (2017) Until its hasty climax, the film is rewardingly patient and psychologically cogent. - Slant Magazine EDIT
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 EDIT
Read More | Posted May 14, 2017
3/4 97% 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 EDIT
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 EDIT
Read More | Posted Apr 26, 2017
3/4 94% Glory (2017) Its rough-hewn naturalism belies an exquisite sense of pace and a sneaky breed of gallows humor. - Slant Magazine EDIT
Read More | Posted Apr 9, 2017
3/4 68% All These Sleepless Nights (2017) Director Michal Marczak's film finds a unique vitality in its densely constructed environment. - Slant Magazine EDIT
Read More | Posted Apr 3, 2017
2.5/4 85% 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 EDIT
Read More | Posted Mar 27, 2017