Christopher Schobert

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For 19 reviews, this critic has graded:
  • 84% higher than the average critic
  • 0% same as the average critic
  • 16% lower than the average critic
On average, this critic grades 5 points higher than other critics. (0-100 point scale)

Christopher Schobert's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 12 Years a Slave
Lowest review score: 0 The Bag Man
Score distribution:
  1. Positive: 11 out of 19
  2. Negative: 5 out of 19
19 movie reviews
    • 96 Metascore
    • 100 Christopher Schobert
    You want to see, hear, and feel slavery? Here is the system, in all its awful components.
    • 77 Metascore
    • 91 Christopher Schobert
    Noah Baumbach’s While We’re Young is wise, funny, fiercely intelligent and always involving. It’s not just the director’s most complete film — it’s also his best.
    • 77 Metascore
    • 91 Christopher Schobert
    Philomena has a few modest missteps, and a frustrating moment or two (Philomena is more forgiving than Martin – and the audience – want her to be), but the film is so moving, so brisk, and so sweet that it is hard to be left with anything resembling disappointment.
    • 74 Metascore
    • 91 Christopher Schobert
    Prisoners might be the most shockingly dark studio release since Fight Club, a grim, unsettling, occasionally convoluted, but undeniably gripping thriller.
    • 89 Metascore
    • 91 Christopher Schobert
    There’s no doubt that Gangs of Wasseypur is an exhilarating creation, a not-to-be-missed cinematic event, and a work as sprawling, messy, and open-ended as real life.
    • 68 Metascore
    • 91 Christopher Schobert
    For Rooney Mara, it’s a new high, giving a performance that can only be described as extraordinary, and she makes Una a sharp, discomforting stunner.
    • 76 Metascore
    • 91 Christopher Schobert
    As the moving, sad, riotously humorous documentary The Dog explains, the film only captured traces of Wojtowicz’s personality, and only told bits of his story.
    • 64 Metascore
    • 83 Christopher Schobert
    Constantine captures the invigorating joy of these songs, and humorously shows that it is nearly impossible to listen and not feel the urge to dance.
    • 74 Metascore
    • 83 Christopher Schobert
    As fascinating and enjoyable as the end result is, Made of Stone spends too much time trying to justify its existence, and not enough time actually presenting us the band as it exists today.
    • 66 Metascore
    • 83 Christopher Schobert
    Throughout, Jordan’s direction is stylish and smart, while its cast succeeds in making its characters truly involving.
    • 71 Metascore
    • 83 Christopher Schobert
    Supersonic is about the rise of the band, the period from birth to its two concerts (to 250,000 attendees) at Knebworth. And that’s fine, since Supersonic is a wildly entertaining blast of energy and bombast.
    • 44 Metascore
    • 58 Christopher Schobert
    While the politics and film as a whole are not entirely successful, there is much to admire in “Wolf Creek 2,” not the least if which is director Greg McLean’s chutzpah. He is a visually adept filmmaker who makes fine use of the broad canvas that is the outback.
    • 49 Metascore
    • 58 Christopher Schobert
    It’s a so-so affair offering momentary pleasures.
    • 42 Metascore
    • 58 Christopher Schobert
    Mark Strong and an underused Brian Cox are fine, and Taissa Farmiga demonstrates why she is acknowledged as one of America’s most promising young talents. But she deserves a better role, everyone involved deserves a stronger script.
    • 17 Metascore
    • 33 Christopher Schobert
    What is perhaps most surprising is that the film’s first hour, the non-horror section, is far more compelling than the second, an extended, nonsensical haunted hotel sequence that never scares, intrigues, or surprises.
    • 74 Metascore
    • 33 Christopher Schobert
    The concept of the film could have been played several different ways, from farce to high-drama to Hitchcock-ian thriller. Ozon decides to try it all, but in the end doesn’t pull off any.
    • 14 Metascore
    • 25 Christopher Schobert
    Taking on such a wacky project for his directorial debut shows evidence of real ambition, yet Don Peyote must be considered a complete miss. Still, Fogler is certainly not without charm and comedic ability.
    • 45 Metascore
    • 25 Christopher Schobert
    It is Nicholas Hoult, and Nicholas Hoult only, who keeps one watching. Even here he commands the screen, and shows himself able to carry a film. Next time, perhaps it will be a good one, and not one with such a needlessly tired message.
    • 28 Metascore
    • 0 Christopher Schobert
    The Bag Man is, in final analysis, truly disheartening.

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