For 33 reviews, this critic has graded:
  • 72% higher than the average critic
  • 9% same as the average critic
  • 19% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Chris Klimek's Scores

  • Movies
Average review score: 58
Highest review score: 90 Herb & Dorothy 50X50
Lowest review score: 10 The Human Race
Score distribution:
  1. Positive: 14 out of 33
  2. Negative: 5 out of 33
33 movie reviews
    • 63 Metascore
    • 90 Chris Klimek
    If Simon Killer's tragic drift is predictable, the seedy particulars still engross. And the storytelling is first-rate.
    • 65 Metascore
    • 90 Chris Klimek
    It's an absorbing document of an extraordinary act of generosity.
    • 80 Metascore
    • 80 Chris Klimek
    While some of the workers' chitchat is translated via subtitles, long passages of it are not. Oreck's imagery of the forbidding Arctic landscape through its seasonal transformations (the movie covers roughly a year) is eloquent enough.
    • 63 Metascore
    • 80 Chris Klimek
    Foulkes’ long-simmering anger over having not received his due doesn’t endear him to the art-world power brokers best positioned to help him, but it does make him an uncommonly forthcoming, unguarded interview.
    • 51 Metascore
    • 80 Chris Klimek
    With his thin-lipped, narrow-eyed, disquietingly symmetrical face, Mikkelsen is nearly as good a prop as he is an actor. That impassive but selectively expressive mug is what makes Age Of Uprising’s climax shocking and memorable, but not at all in the way viewers will be conditioned to expect.
    • 77 Metascore
    • 80 Chris Klimek
    Code Black doesn’t suggest ways to improve health care in America, but it at least documents one of the most noble and necessary professions with insight and humility.
    • 42 Metascore
    • 70 Chris Klimek
    This is the disreputable, even disgusting diversion the Expendables pictures should've been.
    • 56 Metascore
    • 70 Chris Klimek
    Decoding Annie Parker is a better living-with-disease drama than medical mystery.
    • 61 Metascore
    • 70 Chris Klimek
    An important film despite some baffling presentational choices.
    • 57 Metascore
    • 70 Chris Klimek
    Rarely has a life beyond the law seemed less enticing than it does in Babak Najafi’s bleak crime picture. It’s unrelentingly intense and utterly humorless, but there’s no denying the skill and brio with which it unspools.
    • 48 Metascore
    • 70 Chris Klimek
    Kent’s photography is so energetic, and the soundtrack is so sprightly—it features jagged tunes from beloved cult act The Feelies, as well as other, less familiar indie bands—that the thinness of the characterization slips by almost unnoticed.
    • 54 Metascore
    • 70 Chris Klimek
    It’s a credit to Stockwell’s engrossing (though slightly schizophrenic) movie that it engenders sufficient curiosity to inspire viewers into seeking out non-fictional accounts of the story.
    • 51 Metascore
    • 70 Chris Klimek
    A smart, sardonic, unpredictable morality play that gets the little things right.
    • 66 Metascore
    • 70 Chris Klimek
    It’s clearly more interested in dissecting these characters than in solving the mystery of Matthew’s disappearance. That’s the advantage of casting actors like Collette and Church, who can lure viewers into a confident familiarity, then reveal something deeper.
    • 48 Metascore
    • 60 Chris Klimek
    It's a bummer that the movie settles for such an oft-mined vein of bummed-outedness—for a few minutes, Coiro really had me going.
    • 43 Metascore
    • 60 Chris Klimek
    Forsman — whose loose inspiration was Snowblind, a 1976 memoir by his retired drug-smuggler father — brings a refreshing crispness to the foot chases and fights, and there's a fun cameo that supports the retro-'80s vibe nicely.
    • 61 Metascore
    • 60 Chris Klimek
    Exposed is really just a series of intermingling profiles, which is perhaps why its observations eventually begin to feel slightly repetitive.
    • 48 Metascore
    • 60 Chris Klimek
    It’s clunky, it’s hokey, it was clearly made on the cheap. It’s also ambitious in a way that more expensive films are rarely allowed to be anymore.
    • 66 Metascore
    • 60 Chris Klimek
    Like so many late-night journeys, Last Passenger starts out full of promise, but only stops at places we’ve already been.
    • 45 Metascore
    • 60 Chris Klimek
    Director Emilio Aragón doesn’t want to choose a consistent tone any more than a bucking bronco wants a rider on its back, but he’s prodded along by another fine, scabrous performance from octogenarian Robert Duvall as Red.
    • 44 Metascore
    • 60 Chris Klimek
    The performances, particularly from Towne and Tighe, go a long way toward making the story’s improbabilities seem trivial.
    • 49 Metascore
    • 50 Chris Klimek
    Habie’s fractured narrative style—particularly her arbitrary shifts from Khaled’s perspective to Eyal’s to (apparently) third-person reality—stymies the accumulation of any dramatic momentum from scene to scene.
    • 33 Metascore
    • 50 Chris Klimek
    Director Joe Pearson (who also has a mysterious “created by” credit) and screenwriter David Abramowitz have ginned up a fan-fiction-y premise that suggests much more apocalyptic fun than it ultimately delivers.
    • 44 Metascore
    • 50 Chris Klimek
    Thompson and Brosnan really are fine romantic foils. They deserve a better movie to trade barbs in. They deserve better barbs to trade.
    • 40 Metascore
    • 40 Chris Klimek
    This is an almost scene-for-scene remake — but not a shot-for-shot remake, which likely would have been more enjoyable.
    • 28 Metascore
    • 40 Chris Klimek
    A ponderous, self-important character study swimming with red herrings.
    • 31 Metascore
    • 40 Chris Klimek
    Nothing is revealing or surprising in this horse-beating tale of spiritual poverty among the extremely wealthy. It’s uninvolving enough to make Ayn Rand herself beg for a bailout.
    • 50 Metascore
    • 30 Chris Klimek
    All his film can do to make its case for Sosa's significance is trot out subjects who compare her to Joan Baez, Ella Fitzgerald, and, most puzzlingly, "Mick Jagger and Paul McCartney in one," without elaboration.
    • 23 Metascore
    • 30 Chris Klimek
    Baseline competence elevates The Outsider, just barely, into the realm of perfect forgetability.
    • 24 Metascore
    • 30 Chris Klimek
    A deeply dopey, distinctly not-terrifying, unintentionally hilarious supernatural thriller.