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Chris Azzopardi

Chris Azzopardi's reviews only count toward the Tomatometer® when published at Tomatometer-approved publication(s).
Publications:

Reviews

Movies TV Shows
Selena y Los Dinos (2025) 95% EDIT “It’s an accessible presentation for fans. Others may find it too insider-focused, even as it renders Selena’s symbolic self more human.” – New York Times Nov 18, 2025 Full Review A Very Jonas Christmas Movie (2025) 87% EDIT “The musical-comedy is pure festive sugar rushes and nostalgic kitsch — very Jonas, indeed.” – New York Times Nov 14, 2025 Full Review The Hand That Rocks The Cradle (2025) 42% EDIT “It’s clear this cradle has been rocked so hard that subtlety, taste and the potential for good camp have fallen out.” – New York Times Oct 22, 2025 Full Review Plainclothes (2025) 83% EDIT “Writer-director Carmen Emmi’s evocative debut relies on a nostalgically textured aesthetic that sometimes seems to mask its thin narrative, the heat builds in unexpected ways, ultimately igniting through the quiet agony of living as someone you’re not.” – New York Times Sep 19, 2025 Full Review Griffin in Summer (2024) 94% EDIT “The writer-director Nicholas Colia infuses his feature debut with sensitivity and the sweet awkwardness of youth.” – New York Times Aug 28, 2025 Full Review The Map That Leads to You (2025) 38% EDIT “It’s all as comfortably mindless as you’d expect.” – New York Times Aug 21, 2025 Full Review Unicorns (2023) 78% EDIT “Hardy peels back the layers to reveal Luke's sexual awakening so viscerally that it's easier to overlook the film's narrative shortcuts.” – New York Times Jul 17, 2025 Full Review Wild Diamond (2024) 85% EDIT “Khebizi brings palpable desperation to the role of Liane, despite the limited script, while the cinematographer Noé Bach intimately frames Liane like we’re intruding on her space.” – New York Times Jul 10, 2025 Full Review Ponyboi (2024) 81% EDIT “Gallo’s star-making turn pushes back against this version of hypermasculinity, reshaping genre conventions that have privileged rigid gender binaries. Watching Gallo carve out space for Ponyboi is its own kind of powerful assertion.” – New York Times Jun 26, 2025 Full Review I Don't Understand You (2024) 52% EDIT “In trying to be both subversive and sincere, “I Don’t Understand You” ends up not quite pulling off either.” – New York Times Jun 5, 2025 Full Review Lavender Men (2024) 82% EDIT “Tonal whiplash — farcical comedy, heavy drama, even a musical number — undermines the film’s emotional stakes.” – New York Times May 1, 2025 Full Review A Nice Indian Boy (2024) 95% EDIT “In this vibrant addition to cinema’s romantic landscape, love isn’t the only winner: cultural understanding and the freedom to choose your own path triumph as well.” – New York Times Apr 3, 2025 Full Review Larger Than Life: Reign of the Boybands (2024) EDIT “Directed by Tamra Davis (“Crossroads,” “Billy Madison”), the movie often feels more like a greatest hits compilation than a cohesive narrative.” – New York Times Nov 13, 2024 Full Review High Tide (2024) 100% EDIT “With his exceptionally lived-in performance, Pigossi brings Lourenço’s heartbreaking emotions to life, making even the script’s contrivances feel natural.” – New York Times Oct 17, 2024 Full Review Sebastian (2024) 76% EDIT “The film chases its own tail, resulting in a foreseeable transformation that has the emotional resonance of an after-school special. ” – New York Times Aug 1, 2024 Full Review I Am: Celine Dion (2024) 100% EDIT “Dion’s voice made her a star; this film is keen on making her a person.” – New York Times Jun 25, 2024 Full Review Outstanding: A Comedy Revolution (2024) 100% EDIT “Hurwitz examines comedy’s place in the L.G.B.T.Q. movement in... “Outstanding: A Comedy Revolution,” creating a rich, century-long timeline full of archival footage, behind-the-scenes glimpses and candid interviews with comedians. ” – New York Times Jun 18, 2024 Full Review Lil Nas X: Long Live Montero (2023) 74% EDIT ““Saying actual words — it’s really hard to do,” Lil Nas X eventually admits. Still, the best parts of this documentary are onstage, where his freedom to be himself tells its own thrilling story.” – New York Times Jan 25, 2024 Full Review Cypher (2023) 87% EDIT “A cunning experiment in cross-genre filmmaking, “Cypher” is all fun, games and hagiography until it’s not, effectively deceiving at every conspiratorial turn.” – New York Times Nov 22, 2023 Full Review Milli Vanilli (2023) 100% EDIT “As presented here, it’s easy to see how this could be the basis for a horror film by Jordan Peele.” – New York Times Oct 24, 2023 Full Review Joan Baez I Am a Noise (2023) 94% EDIT “The documentary has a gold mine of material: drawings and journal entries, concert footage, family videos and vintage photographs.” – New York Times Oct 5, 2023 Full Review Carlos (2023) 100% EDIT “This controlled documentary captivates as a soulful personal history, even if it doesn’t exactly transcend.” – New York Times Sep 28, 2023 Full Review Wynonna Judd: Between Hell and Hallelujah (2023) EDIT “Though Wynonna powers through the songs with admirable grit and grace, Specht’s approach is too awkwardly methodical and cloyingly vague to kindle enough unguided emotions.” – New York Times Apr 26, 2023 Full Review Lewis Capaldi: How I'm Feeling Now (2023) 89% EDIT “Remarkably, “How I’m Feeling Now” manages to escape most of the promotional trappings of its ilk, striking a more meaningful note than other pop star docs.” – New York Times Apr 5, 2023 Full Review Dionne Warwick: Don't Make Me Over (2021) 91% EDIT “Overall, “Don’t Make Me Over” gets the job done, albeit in a formulaic, straightforward fashion.” – New York Times Feb 2, 2023 Full Review
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