Chris Barsanti

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For 43 reviews, this critic has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 4.6 points higher than other critics. (0-100 point scale)

Chris Barsanti's Scores

  • Movies
  • TV
Average review score: 68
Highest review score: 100 LA 92
Lowest review score: 20 Silencio
Score distribution:
  1. Positive: 30 out of 43
  2. Negative: 4 out of 43
43 movie reviews
    • 75 Metascore
    • 75 Chris Barsanti
    Joy
    In its refusal to bend to unrealistic notions of escape, Joy is a bravely dark movie.
    • 66 Metascore
    • 75 Chris Barsanti
    Throughout, the era-defining yet problem-plagued music festival astounds in large part for all the disasters that didn’t occur.
    • 73 Metascore
    • 63 Chris Barsanti
    The action choreography is as brutal as you expect, though the repetition in style from the first two films makes the effect less surprising.
    • 56 Metascore
    • 50 Chris Barsanti
    The film appears to be striving for humanistic understanding, but the end result is far too jumbled to have the proper impact.
    • 65 Metascore
    • 75 Chris Barsanti
    A thin but heartfelt piece of work ... But with Ferrara content to let his subject mostly drive the show and not impose more of an authorial vision and context that could have created a grander narrative about the history of moviegoing in New York, the passion is missing.
    • 73 Metascore
    • 75 Chris Barsanti
    Werner Herzog’s documentary is a rare example of the arch ironist’s capacity to be awed not by nature but by man.
    • 46 Metascore
    • 58 Chris Barsanti
    Even though The Public ultimately doesn’t come together as a dramatic piece, particularly in the hammy climax, it does take some impressive chances. Just making a story about the invisible homeless is a brave move to start—audiences tend not to like stories about intractable issues, after all.
    • 69 Metascore
    • 75 Chris Barsanti
    Alison Klayman’s fly-on-the-wall documentary cuts Trump’s Rasputin down to size but doesn’t completely dismiss his power.
    • 66 Metascore
    • 63 Chris Barsanti
    Alex Gibney’s documentary tells a dramatic, if somewhat workmanlike, story of Silicon Valley hubris meeting old-fashioned scamming.
    • 64 Metascore
    • 50 Chris Barsanti
    The film doesn't pay nearly enough attention to Danvers’s crucial emotional metamorphosis from dual-identity self-doubter to fearless warrior battling to keep Earth safe.
    • 85 Metascore
    • 88 Chris Barsanti
    Money corrupts, Cristina Gallego and Ciro Guerra’s would say. Easy money corrupts completely.
    • 53 Metascore
    • 63 Chris Barsanti
    The film knots several strands of new-millennium despair into something that very nearly approximates greatness in its first half.
    • 65 Metascore
    • 38 Chris Barsanti
    The deconstruction of corporatized play culture gets run through the sequelizer machine, with predictably acrid results.
    • 75 Metascore
    • 88 Chris Barsanti
    Chris Smith’s documentary about the 2017 Fyre Festival implosion resists the urge to revel in cheap social media schadenfreude.
    • 99 Metascore
    • 93 Chris Barsanti
    A tragic romance of identity embedded in a voluptuous atmosphere, Moonlight flirts with visual and thematic excess. But the emotional integrity of its characters, seamlessly maintained from one set of actors to the next, who so desperately want to love, pulls it back from the brink.
    • 51 Metascore
    • 63 Chris Barsanti
    Many sections of Bird Box don’t hold up to a second’s scrutiny; the conceit’s silliness and convenient scare tactics make Shyamalan’s take on infectious-suicide horror seem downright subtle by comparison.
    • 26 Metascore
    • 35 Chris Barsanti
    It’s only when River Runs Red gets to about the hour mark that a story begins to cohere. Up until that point, it had taken the most perfunctory of stabs at being a ripped-from-the-headlines drama about police shootings.
    • 90 Metascore
    • 60 Chris Barsanti
    This is a movie that ripples with sublimated fury well before the bloody and shocking long take that ends everything without much of an answer. But it is also a movie that leaves too much unsaid and takes too long to end up nowhere.
    • 29 Metascore
    • 20 Chris Barsanti
    Anyone happening to come across Silencio should just as well move on: There’s nothing to see here.
    • 69 Metascore
    • 85 Chris Barsanti
    This is a riveting, important story in which the personal can’t help but be political.
    • 35 Metascore
    • 30 Chris Barsanti
    The direction by Ruben Fleischer (Zomebieland, Gangster Squad) is oddly slapdash, and hardly does justice to the skills of his cast or his own chops as a comedic filmmaker. Hardy squeezes some baffled comedy out of his schizoid shtick, but there just isn’t much here for him to work with.
    • 70 Metascore
    • 78 Chris Barsanti
    Dramatically constructed and studded with sharp, thoughtful points of view,The Oslo Diaries nevertheless falls down on one point. The movie doesn’t get as much sunlight into the PLO viewpoint on the process, focusing almost exclusively on Israeli domestic politics.
    • 62 Metascore
    • 67 Chris Barsanti
    With its star-studded cast of experts, from Ray Kurzweil and Elon Musk to automated warfare experts like Peter Singer, and a brief that is nothing short of the survival of humanity, Do You Trust This Computer? is a more sprawling and diffuse piece of work. It has a larger frame of reference than Paine’s battery-car docs but never hammers it into shape.
    • 74 Metascore
    • 70 Chris Barsanti
    Sharply argued, indignantly one-sided and stylistically monotonous The Bleeding Edge sometimes seems closer to angry PSA than documentary. But that may not be a distinction that matters.
    • 66 Metascore
    • 75 Chris Barsanti
    Blisteringly caustic as ever, John Lydon nevertheless reveals himself as an occasionally sentimental sort in Tabbert Fiiller’s fitfully revelatory and charming documentary.
    • 59 Metascore
    • 75 Chris Barsanti
    Unfortunately, the tendency of Voyeur to tilt towards comedy undermines the weight of its story.
    • 70 Metascore
    • 83 Chris Barsanti
    By the time Jarecki is done with Elvis, the lanky, and projects-raised, rockabilly kid just one generation removed from sharecroppers has been cast as everything from an opportunist and grasping capitalist to addled addict to just plain sucker. If he ever was the King, the movie suggests, it’s long past time to retire the crown.
    • 50 Metascore
    • 45 Chris Barsanti
    It’s strange that The Equalizer 2 is such a sluggish ride. Fuqua and Washington have developed a body of work over the years that is, if nothing else, reliably kinetic. But with Wenk’s pedestrian writing, there just isn’t much for Washington to work with here.
    • 72 Metascore
    • 75 Chris Barsanti
    The story of the 2010 Citizens United Supreme Court decision, which opened the spigots of campaign cash, has been told before. But Reed weaves it into a larger narrative in which it is simply one of the steps in the unraveling of modern campaign-finance laws.
    • 63 Metascore
    • 75 Chris Barsanti
    Path of Blood is more an immediate experience, and as such succeeds in unexpected ways. The human normality of what it shows is nearly more sickening than the carnage itself.

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