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Christopher has written 113 reviews for films during 2018.

  • Autism in Love

    Autism in Love


    This documentary captures a swath of subjects who represent the difficulties of living on the spectrum as well as the joys of our shared humanity, regardless of cognitive orientation.

  • Incredibles 2

    Incredibles 2


    2 WONDERFUL 2 INCREDIBLE feat. Bob Odenkirk. Great work at messing up the world again, superheroes! Sheesh.

  • A Christmas Prince: The Royal Wedding

    A Christmas Prince: The Royal Wedding


    Brexit could be solved if anyone actually ever got off their lazy butts and watched this movie.

  • The Ballad of Buster Scruggs

    The Ballad of Buster Scruggs


    Not just the advertisement for RED DEAD REDEMPTION II we all hoped for - the Coens dig deeper in an absurdist, chilly, yet heartfelt Western, which I look forward to revisiting. Gotta be one of the best anthology films I can recall seeing, with only one segment I might consider cutting ("Near Algodones"), and even that segment is not half-bad.

  • Christmas Wedding Planner

    Christmas Wedding Planner


    This video content is on Netflix. This video content serves a purpose. This video content seems like it is going to be pornographic, but it isn’t. “One and one-half stars,” is my insightful review.

  • The Muppet Christmas Carol

    The Muppet Christmas Carol


    As Ricky Gervais said, the only way to improve one of the greatest stories ever written is to add Muppets.

  • My Neighbor Totoro

    My Neighbor Totoro

    Cat bus!!!

  • Private Life

    Private Life


    I laughed. I cried. I was slightly annoyed by Sadie (maybe intentionally). Tamara Jenkins wrote and directed a fertile film, and of course I went out of my way to make a pun that in no way works organically (and never could). But maybe I could look into adopting a pun that would work for me.

  • Hold the Dark

    Hold the Dark


    As in all of his films so far, Saulnier directs the hell out of some of the wordless action scenes. To me, HOLD THE DARK is more amorphously ambiguous than BLUE RUIN or GREEN ROOM, which may help it age well (or terribly), but in the immediate aftermath, I was yearning for narrative specificity on which the lofty themes of the story could rest. It's an interesting undertaking, even if the film's resonance is a little squishy to me.

  • They'll Love Me When I'm Dead

    They'll Love Me When I'm Dead


    Genius. Indulgence. Death. Life. It’s a pretty ambitious and self-serious legacy, even if it’s not the one Orson Welles explicitly chose for himself. There is also an element of the comic, the farcical, which I suppose is where the lingering sense of tragedy comes from - having to taste farce and failure next to drama and success. THEY’LL LOVE ME WHEN I’M DEAD does a fair job capturing this. 

    ...but then why is Alan Cumming narrating from an afterschool special version of an Orson Welles' film? Is he mocking me?

  • Bohemian Rhapsody

    Bohemian Rhapsody


    Based on a true story where absolutely nothing happened this way which is fine when music is playing and not fine when it’s not and sometimes not fine when it is.

  • You Were Never Really Here

    You Were Never Really Here


    Lynne Ramsay + Joaquin = a good match. I feel like blowing my brains out and appreciating a beautiful day at the same time.