Jaime N. ChristleyMovie Reviews & Previews - Rotten Tomatoes

Jaime N. Christley

Jaime N. Christley
Jaime N. Christley's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Apollo Guide, Slant Magazine, Senses of Cinema

Movie Reviews Only

Rating T-Meter Title | Year Review
100% Clash (Eshtebak) (2016) A horror film where the beast is the chaos, hopelessness, and mistrust that's been harvested in the wake of the 2013 coup; think Cloverfield if the monster is us. ‐ Slant Magazine
Posted Dec 11, 2016
3/4 90% Certain Women (2016) The threat of feeling slighted links every small and large ripple of drama in Kelly Reichardt's film. ‐ Slant Magazine
Posted Sep 28, 2016
3/4 75% The Hateful Eight (2015) The premise of the film is simple, but it's a simplicity that can only attract complications, as simple plans are apt to do, in an atmosphere of foreboding and the macabre. ‐ Slant Magazine
Posted Dec 15, 2015
2.5/4 60% Joy (2015) David O. Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells. ‐ Slant Magazine
Posted Dec 7, 2015
1.5/4 81% The Revenant (2015) What pushes the film, at long last, into the icy river, is its very design, as a monument to slick, mercenary grandeur. ‐ Slant Magazine
Posted Dec 4, 2015
4/4 95% In Jackson Heights (2015) The lightning in the film's bottle isn't some generic feel-good humanism, but a complicated one, fighting for its own existence, sometimes angry, sometimes despondent. ‐ Slant Magazine
Posted Nov 2, 2015
3/4 84% The Walk (2015) In order to make the walk, Philippe Petit has to comprehend it as real and impossible. Zemeckis teaches us the same lesson. ‐ Slant Magazine
Posted Sep 27, 2015
2/4 92% The Martian (2015) The film goes in for the idea of texture and tics and human behavior, but there's no conviction, and no real push for eccentricity. ‐ Slant Magazine
Posted Sep 23, 2015
3.5/4 91% Metropolitan (1990) Whit Stillman's "urban haute bourgeoisie" are redeemed because the filmmaker takes custody of them, their idiosyncrasies, their flaws. ‐ Slant Magazine
Posted Aug 2, 2015
3.5/4 91% Something, Anything (2014) The film turns what at first seemingly appears as Kodak moments into a study of a soul in transition. ‐ Slant Magazine
Posted Jan 7, 2015
4/4 100% The Shop Around the Corner (1940) The charm of the gimmick in Lubitsch's take is passed over quickly in favor of studying both its effects on those involved, as well as the dynamics of the workplace at large. ‐ Slant Magazine
Posted Dec 22, 2014
2/4 89% Calvary (2014) One may feel dissatisfied by the 11th-hour turn toward lyrical fatalism, and mildly insulted by the presumptuous attitude it seems to choose as it sends us on our way. ‐ Slant Magazine
Posted Jul 29, 2014
2/4 84% 22 Jump Street (2014) As funny and batshit insane as the movie often is, the fact that the film knows it's a tiresome sequel doesn't save it from being a tiresome sequel. ‐ Slant Magazine
Posted Jun 9, 2014
3.5/4 85% Escape from New York (1981) Most of the images are elaborate confections of urban blight, etched against a nearly unlit soundstage, and the sound mix, until the finale, is rarely louder than Snake's elbow busting out an old windowpane. ‐ Slant Magazine
Posted Jul 17, 2013
3/4 86% Supporting Characters (2013) Glides from a mildly off-putting opening across several scenes that waver between sitcom superficiality and sudden, unexpected gusts of feeling. ‐ Slant Magazine
Posted Jan 19, 2013
3.5/4 95% Nothing But a Man (1963) It can't be overstated just how Nothing But a Man is militantly tone-deaf to the Hollywood muzak of race relations. ‐ Slant Magazine
Posted Nov 9, 2012
3/4 88% A Última Vez Que Vi Macau (The Last Time I Saw Macao) (2013) The essayistic remembrances provide the filmmakers with a brilliant exit strategy when the noir business has nowhere to go but in circles. ‐ Slant Magazine
Posted Oct 11, 2012
3.5/4 70% Not Fade Away (2012) Triumphs when David Chase's empowerment as a kind of autobiographical historian is balanced with the thrill of submersing the viewer in the tidal pool of his memories ‐ Slant Magazine
Posted Oct 11, 2012
3/4 93% Night Across the Street (2013) Across the film's second half, as is sometimes his wont, Ruiz begins to cast aside the genteel, tradition-of-quality trappings misleadingly suggested by the first act and indulges in the lurid fancy of pulp fiction and horror. ‐ Slant Magazine
Posted Oct 2, 2012
2/4 No Score Yet Lines of Wellington (2013) It's an odd experience, a Ruiz film (if it deserves to be called that) devoid of dreamy mystery, reduced to a mere handsome historical epic, albeit capably mounted by Portuguese producer extraordinaire Paulo Branco. ‐ Slant Magazine
Posted Sep 27, 2012
3.5/4 31% Resident Evil: Retribution (2012) At this point in the franchise, Anderson is content to alight the saga on a perpetual rewind loop, ever-ending, ever-rebooting, all subsidized by his nonpareil compositional sense. ‐ Slant Magazine
Posted Sep 14, 2012
2.5/4 99% Finding Nemo (2003) At its best, the added dimension is merely harmless, making the movie blurry enough that you need special glasses to make it sharp again. ‐ Slant Magazine
Posted Sep 11, 2012
3.5/4 No Score Yet Max and the Junkmen (2012) Regarding Michel Piccoli's Max, Claude Sautet's film resists judgment, neither condoning nor signposting the despicable nature of his choices. ‐ Slant Magazine
Posted Aug 7, 2012
2.5/4 56% The Bourne Legacy (2012) One successful set piece in 135 minutes, and it involves very little running, no parkour, and no genetically enhanced superheroes from clandestine government projects. ‐ Slant Magazine
Posted Aug 7, 2012
.5/4 37% Ice Age: Continental Drift (2012) Caters almost exclusively to the remedial, Duplo Blocks demographic, leaving parents and guardians bored to distraction. ‐ Slant Magazine
Posted Jul 12, 2012
3.5/4 99% Annie Hall (1977) Woody Allen's classic comedy has one opening scene after another, never seeming to run short of prologues and prefaces. ‐ Slant Magazine
Posted Jun 17, 2012
3/4 79% Madagascar 3: Europe's Most Wanted (2012) Powered by the impossible, high-flying stunts of its animal and human characters, Madagascar 3 spirals, sashays, pirouettes across the European continent. ‐ Slant Magazine
Posted Jun 5, 2012
3.5/4 93% The Connection (1961) The junkies, as expected, are the real show, and it's here that the theatrical predilections emerge, less "that Barton Fink feeling" and more The Iceman Cometh. ‐ Slant Magazine
Posted May 3, 2012
2.5/4 92% Marvel's The Avengers (2012) While The Avengers exhibits exemplary craftsmanship, Joss Whedon hasn't made a great film. ‐ Slant Magazine
Posted May 1, 2012
0/4 22% The Raven (2012) While full of welcome gore and blood spatter, it's bankrupt of any creative spark. ‐ Slant Magazine
Posted Apr 26, 2012
1/4 80% Caroline And Jackie (2013) Writer-director Adam Christian Clark's Caroline and Jackie clobbers the viewer with a wall of insistent stylishness, a Ketel One ad that just won't quit, or Bellflower for people whose Blackberry is a vital organ. ‐ Slant Magazine
Posted Apr 23, 2012
3.5/4 94% The Day He Arrives (2012) The geometry of human relationships is the main theme of The Day He Arrives. ‐ Slant Magazine
Posted Apr 20, 2012
3.5/4 96% Sleepless Night (2012) After a few turns in the modest narrative, an unlikely sense of structural resilience begins to emerge. ‐ Slant Magazine
Posted Apr 17, 2012
3/4 51% The Three Stooges (2012) In the hands of the Farrellys, the Stooges are, unsurprisingly, made into totems of the duo's favored themes and values: separation anxiety, and the special qualities of home and family, however dysfunctional. ‐ Slant Magazine
Posted Apr 13, 2012
2.5/4 92% The Cabin in the Woods (2012) Spectacle for spectacle's sake, but infiltrated by intelligent commentary and an atmosphere of generosity and inclusion. ‐ Slant Magazine
Posted Apr 8, 2012
0/4 26% Wrath of the Titans (2012) This is a product of gross indifference in every respect, an attempt on the part of its producers to make enough money to justify a third, perhaps even more cut-rate, installment. (Revenge of the Titans?) ‐ Slant Magazine
Posted Mar 28, 2012
2.5/4 85% The Raid: Redemption (2012) Gareth Evans's mostly no-nonsense, floor-by-floor ass-kicking panorama is admirably humble. ‐ Slant Magazine
Posted Mar 17, 2012
50% 4:44 Last Day on Earth (2012) It's only natural that Abel Ferrara's vision of the end of the world should take corporeal form as a quasi-autobiographical hangout movie. ‐ Slant Magazine
Posted Mar 17, 2012
3/4 85% 21 Jump Street (2012) Like many almost-great comedies, 21 Jump Street is frontloaded with the best go-for-broke gags and lines. ‐ Slant Magazine
Posted Mar 12, 2012
.5/4 51% John Carter (2012) It's both abrupt and languorous, a wall-to-wall exhibition of design work where nobody had the basic decency to make sure the designs were good. ‐ Slant Magazine
Posted Mar 6, 2012
1/4 No Score Yet The Woods (2012) It's all very "found footage," Impolex by way of Discovery's The Colony, only with a lot more in the way of familiar consumer products. ‐ Slant Magazine
Posted Feb 29, 2012
.5/4 88% In Darkness (2012) A "Not Another Holocaust Movie" awards grab that isn't even distinguished by its base artlessness and indifference to craft. ‐ Slant Magazine
Posted Feb 6, 2012
1.5/4 76% Kill List (2012) The ending is so gracelessly ironic that O. Henry himself would have thrown up his hands in disgust. ‐ Slant Magazine
Posted Jan 30, 2012
1/4 31% Man on a Ledge (2012) Beyond my Big Apple-centric nitpicking, the cheapness is soaked into the material and direction as well. ‐ Slant Magazine
Posted Jan 25, 2012
4/4 100% Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped) (1957) A Man Escaped seems to be one of the few Bresson films that both his fans and detractors can agree on. ‐ Slant Magazine
Posted Jan 17, 2012
1.5/4 93% Beauty and the Beast (1991) Better remembered than seen, Beauty and the Beast has been treated unkindly not just by the years that have passed since it was released to enormous acclaim in 1991, but by a faddish 3D conversion. ‐ Slant Magazine
Posted Jan 11, 2012
2/4 89% Codependent Lesbian Space Alien Seeks Same (2012) Madeleine Olnek has a limited repertoire of jokes, so it's fortunate that the film, at 76 minutes, is fairly amusing, even if it's never quite laugh-out-loud funny. ‐ Slant Magazine
Posted Jan 3, 2012
2/4 76% War Horse (2011) What ultimately hobbles War Horse is a two-pronged attack, with Spielberg's soft-sell producing an unfortunately dramatic flatness in almost every scene, while an 11th-hour scramble for picture-book catharsis doesn't seem to work either. ‐ Slant Magazine
Posted Dec 21, 2011
3/4 100% The Gold Rush (1925) What's surprising when one takes a fresh look at The Gold Rush is how much else there is, too, not just in terms of set pieces. ‐ Slant Magazine
Posted Dec 20, 2011
.5/4 12% Alvin and the Chipmunks: Chipwrecked (2011) They die horribly. ‐ Slant Magazine
Posted Dec 15, 2011