Todd Gilchrist
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For 21 reviews, this critic has graded:
  • 80% higher than the average critic
  • 0% same as the average critic
  • 20% lower than the average critic
On average, this critic grades 10.1 points higher than other critics. (0-100 point scale)

Todd Gilchrist's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 The Dark Knight Rises
Lowest review score: 42 The Babymakers
Score distribution:
  1. Positive: 16 out of 21
  2. Negative: 0 out of 21
21 movie reviews
    • 78 Metascore
    • 100 Todd Gilchrist
    A cinematic, cultural and personal triumph, The Dark Knight Rises is emotionally inspiring, aesthetically significant and critically important for America itself – as a mirror of both sober reflection and resilient hope.
    • 61 Metascore
    • 91 Todd Gilchrist
    An expertly timed, painstakingly assembled and endlessly engaging game of cat and mouse, Grand Piano succeeds as a whole for the same reasons that Selznick does—namely, because Mira brings all of its elements to work together in concert, and then executes them like a virtuoso.
    • 68 Metascore
    • 83 Todd Gilchrist
    Compliance is as much a meta-textual gauntlet as it is a movie; its subject matter not only deserves, but demands to be discussed and argued about, rather than being simply accepted at face value.
    • 90 Metascore
    • 83 Todd Gilchrist
    Although movies like “Goodfellas” are indisputable forebears for Russell’s decadent tale of crime and punishment, the filmmaker distinguishes himself by creating a complex and compelling web of manipulation between the characters that eventually supersedes any of their scheming or con artistry.
    • 61 Metascore
    • 83 Todd Gilchrist
    For a movie that insists that sequels are never better than their predecessors, Muppets Most Wanted at least suggests it’s possible for them to be equal – well, almost.
    • 64 Metascore
    • 80 Todd Gilchrist
    It's a film that takes its characters and their crises seriously, allowing them to fully explore their situation before providing them (and the audience) a genuine roadmap for finding their way through.
    • 77 Metascore
    • 75 Todd Gilchrist
    The Imposter is a great commentary on the subjectivity of any event, and one that probes deeply into the motivations of its subjects.
    • 48 Metascore
    • 75 Todd Gilchrist
    Ultimately, Lee's clarity of vision hasn't been this sharp or unique since before "Crooklyn," and it's thrilling with Red Hook Summer to witness a return to the technique – and most of all, emotional wallop – that even today continues to give his films an enduring life as both entertainment, and enlightenment.
    • 51 Metascore
    • 75 Todd Gilchrist
    As prophetic as it is provocative, exploring dysfunction, in a recognizable but no less satisfying way.
    • 62 Metascore
    • 75 Todd Gilchrist
    Ultimately as harrowing as any backwoods horror story but enhanced by a humanity those stories will almost never have, We Gotta Get Out Of Here is a terrific film, precisely because it takes the components of a traditional thriller, approaches them from a less-frequently explored perspective, makes them feel relatable and then elevates them with the right amount of style.
    • 53 Metascore
    • 72 Todd Gilchrist
    Although the film's ultimate payoff feels a little too big, and too insufficiently explained, to justify all of the obfuscation that led up to it, the script keeps the audience engaged and guessing right up to the end.
    • 59 Metascore
    • 67 Todd Gilchrist
    Dredd is a video game procedural tied to great visuals, but one without deeper substance to make its experience remotely meaningful.
    • 51 Metascore
    • 67 Todd Gilchrist
    As a film that even passingly acknowledges the disposability of stars in a genre whose artistic merits are considered negligible (if they're considered at all), The Expendables 2 is indispensable entertainment.
    • 41 Metascore
    • 67 Todd Gilchrist
    Retaliation is no masterpiece, but it’s a movie whose fun doesn’t feel like a four-letter word -- popcorn entertainment that not only rivals what you see during summer, but surpasses what you see from Sommers.
    • 53 Metascore
    • 67 Todd Gilchrist
    The Art of the Steal won’t trick audiences into thinking they’ve seen anything new, but it’s just clever enough to keep them distracted from realizing that they haven’t.
    • 48 Metascore
    • 67 Todd Gilchrist
    Because there’s some genuinely great ideas in the film, and some terrific character work, but it’s given such uneven attention, alternately languished upon and glossed over, that the portrait Burger creates feels complete without, well, making us feel a whole lot else.
    • 38 Metascore
    • 58 Todd Gilchrist
    Overall, it's not that Neil's directorial debut is boring or even disappointing, it's that it's just unexceptional – almost exactly the sort of dime-a-dozen growing-up story that's become a Sundance/ independent film world cliché.
    • 81 Metascore
    • 58 Todd Gilchrist
    As a film whose central theme emphasizes the dangers of living in the past, Wright, Pegg and Frost become fatally distracted by nostalgia, eventually paying too much homage to previous classics—especially their own—to create another film that deserves to stand alongside them.
    • 37 Metascore
    • 50 Todd Gilchrist
    The Words fails to surpass dramatically the bland lack of specificity in its title while still offering a solid roundup of performances from its talented ensemble cast.
    • 30 Metascore
    • 42 Todd Gilchrist
    Overall, Chandrasekhar's first tentative venture towards something slightly more sincere is undermined by, quite frankly, his irresistible urge to take the piss out of every sequence that might have been played even remotely seriously.
    • 43 Metascore
    • 42 Todd Gilchrist
    A pastiche of almost too many movies to count as a remake of just one, Total Recall is mindless, middling fare that fails to utilize – much less expand – the provocative concepts at the core of its iconic 1990 predecessor.

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