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Chris Azzopardi
Chris Azzopardi's reviews only count toward the Tomatometer® when published at the following Tomatometer-approved publication(s):
New York Times
Movies reviews only
| Rating | T-Meter | Title | Year | Review |
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Cypher (2022) |
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
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| Posted Nov 22, 2023
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Milli Vanilli (2023) |
As presented here, it’s easy to see how this could be the basis for a horror film by Jordan Peele. - New York Times
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| Posted Oct 24, 2023
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Joan Baez I Am a Noise (2023) |
The documentary has a gold mine of material: drawings and journal entries, concert footage, family videos and vintage photographs. - New York Times
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| Posted Oct 05, 2023
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Carlos (2023) |
This controlled documentary captivates as a soulful personal history, even if it doesn’t exactly transcend. - New York Times
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| Posted Sep 28, 2023
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Wynonna Judd: Between Hell and Hallelujah (2023) |
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
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| Posted Apr 26, 2023
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Lewis Capaldi: How I'm Feeling Now (2023) |
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
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| Posted Apr 05, 2023
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Dionne Warwick: Don't Make Me Over (2021) |
Overall, “Don’t Make Me Over” gets the job done, albeit in a formulaic, straightforward fashion. - New York Times
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| Posted Feb 02, 2023
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Selena Gomez: My Mind and Me (2022) |
Sincere and soul-baring, the film captures Gomez’s challenges with mental illness, lupus and fame. Watching it is like eavesdropping on a 95-minute therapy session with the artist. - New York Times
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| Posted Nov 03, 2022
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Halftime (2022) |
[A] scattershot portrait... - New York Times
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| Posted Jun 14, 2022
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A Man Named Scott (2021) |
"A Man Named Scott" is that rare musician-focused doc, one as sensitive, fully formed and noble in its intentions as Cudi himself. - New York Times
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| Posted Nov 04, 2021
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Justin Bieber: Our World (2021) |
It's only for the biggest Beliebers. And even they, too, may wish it didn't play out in such tedious mechanical fashion. - New York Times
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| Posted Oct 07, 2021
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Trouble (2019) |
Home is at the center of "Dog Gone Trouble," about a lost pooch whose owner has just died. But this Netflix animated family feature is nothing to write home about. - New York Times
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| Posted May 27, 2021
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Life in a Day 2020 (2021) |
The result is a tediously formatted stream of categorized segments that might as well fall into hashtagged classifications: Environmental Conservation, Zoom Life, Class of 2020, Love Is Love and You Weren't the Only One Cooking All the Time. - New York Times
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| Posted Feb 05, 2021
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ariana grande: excuse me, i love you (2020) |
Only 2020 could make a straightforward, paint-by-numbers concert doc like this one, which is clearly intended for superfans, seem this nourishing (even for non-Arianators like myself). - New York Times
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| Posted Dec 28, 2020
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Shawn Mendes: In Wonder (2020) |
I, for one, was hoping there'd be more behind the curtain. - New York Times
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| Posted Nov 23, 2020
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