Filmmixtape

Filmmixtape is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer® when written by the following Tomatometer-approved critic(s): Chris Feil
Rating Title/Year Author
C- The Courier (2020) Chris Feil Conceived without the benefit of imagination, The Courier is a microwaved and nutrient-free copy of similar Cold War spy dramas, tinny with the shine of its shrinkwrap packaging. EDIT
Posted Mar 18, 2021
C- Boogie (2021) Chris Feil Even with all the context it provides its protagonist, the film still reduces him to an average teenage asshole. It may be an inversion of the usual boring heart-of-gold bland sports movie hero, but it's still bland. EDIT
Posted Mar 4, 2021
B- Raya and the Last Dragon (2021) Chris Feil The wisdom of [the film] is that it doesn't lean in too hard on its most familiar elements, allowing its more unique thematic terrain and smartly textured worldbuilding to hold the spotlight. EDIT
Posted Mar 3, 2021
A- The World to Come (2020) Chris Feil The World to Come ignites something thrilling in its brief runtime. EDIT
Posted Feb 10, 2021
B- Land (2021) Chris Feil As a debut, Land shows Wright as a filmmaker with a precise insight into human nature and cautious hand on avoiding sentimentality, even when the script lacks her sophisticated balance. EDIT
Posted Feb 10, 2021
C- Supernova (2020) Chris Feil As it coasts along to its conclusion, it becomes increasingly likely that the film is just an elaborate stab at aspirational lifestyle in a weepy context. EDIT
Posted Jan 27, 2021
C The Climb (2019) Chris Feil The Climb is mostly as shallow as its characters, and almost always as frustrating. EDIT
Posted Nov 10, 2020
B Ammonite (2020) Chris Feil What makes Ammonite register in satisfying ways are its flintier textures - the reservedness of its feeling, the unshowiness of its period detail, the soberness of its resolution. EDIT
Posted Nov 9, 2020
B- Kindred (2020) Chris Feil Marcantonio seems at peace with the film's blurred conclusion, but Kindred's final notes are muddied in ways that demand reexamination of everything before it, refusing simplified answers. EDIT
Posted Nov 2, 2020
D+ Let Him Go (2020) Chris Feil Like a Norman Rockwell painting of a public execution, Let Him Go is awfully quaint about the casual violence it accepts as everyday. As the film gets progressively more grim, it almost pathologically leans in toward chicken soup sentimentality.... EDIT
Posted Nov 2, 2020
C Borat Subsequent Moviefilm (2020) Chris Feil [M]ore cute than subversive. EDIT
Posted Oct 21, 2020
B- Possessor: Uncut (2020) Chris Feil [A] swan dive down a conceptual rabbit hole filled with wild imagery and pitch black pathology; it's all-consuming cinema, if frequently needlessly confusing. EDIT
Posted Sep 28, 2020
B+ On the Rocks (2020) Chris Feil With Sofia Coppola at her most casual and unvarnished, On the Rocks settles in to its metropolitan melancholy and crackling comic sensibility without ever overplaying its hand. EDIT
Posted Sep 27, 2020
B- Kajillionaire (2020) Chris Feil If some audacity is lost in the softening of July's typically sharp edges, or credibility is strained in its logic, the film is still precise in how it examines slippery emotional terrain. EDIT
Posted Sep 22, 2020
A- The Nest (2020) Chris Feil Like a haunted house movie without the ghosts, The Nest thrills with a pervasive sense of unease and no catharsis, making for a special breed of melodrama that eschews the emotional demands of the genre. EDIT
Posted Sep 17, 2020
C+ Tesla (2020) Chris Feil Its audacity merely registers as one-note insight, despite how Tesla offers sprinkles of the truly unique. EDIT
Posted Aug 20, 2020
C- Words on Bathroom Walls (2020) Chris Feil [T]he film sullies its potential value by the broad, often inappropriate tone it strikes. EDIT
Posted Aug 20, 2020
B She Dies Tomorrow (2020) Chris Feil But the success of the film's queasy, perpetual low-hum terror belongs to Seimetz for her unique vision and focused execution. EDIT
Posted Jul 30, 2020
D- Irresistible (2020) Chris Feil [A] pungently toxic dose of cynicism... EDIT
Posted Jun 25, 2020
C- The King of Staten Island (2020) Chris Feil Uncharismatic in the extreme, [Davidson's] performance is entirely out of sync from the demands of Apatow's trademark lovable losers. EDIT
Posted Jun 11, 2020
C- Downhill (2020) Chris Feil It all rings of a lack of intention or clear point of view. EDIT
Posted Feb 13, 2020
C+ Cats (2019) Chris Feil The ultimate effect of the neon and glitter-drenched CGI extravaganza is Hellraiser 2 by way of Roald Dahl, a family entertainment spectacularly drunk on its own supply of batshit. EDIT
Posted Dec 18, 2019
D+ Richard Jewell (2019) Chris Feil Embarrasingly ill-conceived, Richard Jewell reductively characterizes all of its players to simplistic cliches, even (perhaps especially) its heroes. EDIT
Posted Dec 12, 2019
C+ 1917 (2019) Chris Feil 1917 becomes limited in its capacity for something visceral without deeper established roots in its characters. EDIT
Posted Dec 9, 2019
B Clemency (2019) Chris Feil There's a morose expressionism to Chukwu's approach to the material that will be tough for many to stomach, but carries a weight and intellectual vigor that shouldn't be ignored. EDIT
Posted Dec 4, 2019
B Dark Waters (2019) Chris Feil Haynes already has [safe], but now he might have a version of its ideas digestible for the masses. EDIT
Posted Dec 1, 2019
B- Honey Boy (2019) Chris Feil Honey Boy is more in the telling of its personal wounds than what it unfolds or how it resolves. EDIT
Posted Nov 30, 2019
A Portrait of a Lady on Fire (2019) Chris Feil Arresting the senses and stimulating the mind, Céline Sciamma has made one of the most breathtaking screen romances of the decade... EDIT
Posted Nov 29, 2019
A A Beautiful Day in the Neighborhood (2019) Chris Feil [T]his is a film more about our relationship with Rogers than the man himself, and that distinction reveals much of the film's ample emotional intelligence. EDIT
Posted Nov 21, 2019
C+ Frozen II (2019) Chris Feil Maybe the only purpose Frozen 2's narrative expansion serves is to provide a more compelling foundation for another sequel than the original left for this one. EDIT
Posted Nov 20, 2019
C Ford v Ferrari (2019) Chris Feil It's missing a soul. EDIT
Posted Nov 14, 2019
A The Irishman (2019) Chris Feil Epic in its timeline and intellectual scope, Scorsese has made something funereal and absurdly funny, one that appears in surprising dialogue with his career and place in the modern cinematic landscape. EDIT
Posted Nov 14, 2019
B- The Report (2019) Chris Feil Burns isn't inventive, but he produces something stoically precise. EDIT
Posted Oct 31, 2019
B+ Marriage Story (2019) Chris Feil Precise in moments, if softer as a whole, [Baumbach's] overarching attempt here still makes the film feel like a progression of sorts for the writer-director. EDIT
Posted Oct 28, 2019
B+ Frankie (2019) Chris Feil Sachs' delicate touch in this beautifully meandering story of love, life, and death makes for something uniquely moving, particularly in the film's quiet final moments. EDIT
Posted Oct 24, 2019
B+ Pain and Glory (2019) Chris Feil [Banderas'] work is exquisitely in sync with what Almodóvar is attempting to achieve, painting for us a soul aching to be released. EDIT
Posted Oct 23, 2019
A Parasite (2019) Chris Feil Surprising in its observations and developments, the film is has all the makings of one destined for rewatch and deeper examination in perpetuity - a film with the power to continue to reveal things about how we interact and how we survive. EDIT
Posted Oct 19, 2019
C Jojo Rabbit (2019) Chris Feil The film's certainty of its audacity only serves to underline its conceptual tepidness... EDIT
Posted Oct 17, 2019
B- First Love (2019) Chris Feil Is the master just coasting here? Maybe, but First Love still is an easy treat. EDIT
Posted Oct 10, 2019
B Monos (2019) Chris Feil Filled with sensory explosiveness, Monos is an incredibly evocative breakthrough for filmmaker Alejandro Landes. EDIT
Posted Oct 9, 2019
C Judy (2019) Chris Feil It's a blend of the somber and the splashy, a sometimes inelegant tonal soup that is nevertheless elevated by a transformative performance from Renée Zellweger as Garland in her most tragic days. EDIT
Posted Sep 26, 2019
B Vita & Virginia (2018) Chris Feil It's something left-of-center in a traditional costume drama's clothing, and arrestingly so. EDIT
Posted Aug 21, 2019
B The Nightingale (2018) Chris Feil The Nightingale is bleak and uncompromising, an exhaustive polemic of staggering composition, if sometimes porously communicated. EDIT
Posted Aug 21, 2019
C+ Them That Follow (2019) Chris Feil [T]he characters and surroundings come off more cliche than probably intended. EDIT
Posted Aug 5, 2019
A The Farewell (2019) Chris Feil Wang crafts the kind of film you hate to let go of when you leave the theatre, wishing you could stay in the weight of its affections and its grace. EDIT
Posted Jul 31, 2019
C Consequences (2018) Chris Feil ... falls flat as both a gay narrative and a teen melodrama. EDIT
Posted Jul 31, 2019
B Once Upon a Time... In Hollywood (2019) Chris Feil [Tarantino's] risk is, above all, rather lovely - he's never felt more vulnerable and it oddly suits him. EDIT
Posted Jul 28, 2019
C The Art of Self-Defense (2019) Chris Feil The film may be wisest (not to mention funniest) when it views maleness as a cult, but it's also clumsy for how it makes itself a proud member. EDIT
Posted Jul 19, 2019
B- Pasolini (2014) Chris Feil What distinguishes Pasolini from other biopics is its willingness to get lost within the artist's creative perspective while detailing his life. EDIT
Posted Jul 11, 2019
B Wild Rose (2018) Chris Feil [O]ne of the summer's most joyous movie pleasures. EDIT
Posted Jul 11, 2019