Chris Barsanti

Select another critic »
For 86 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 5 points higher than other critics. (0-100 point scale)

Chris Barsanti's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 White Noise
Lowest review score: 20 Silencio
Score distribution:
  1. Positive: 61 out of 86
  2. Negative: 6 out of 86
86 movie reviews
    • 47 Metascore
    • 38 Chris Barsanti
    This is a sleek-looking vehicle that’s eager to be scary but not comfortable being ugly.
    • 77 Metascore
    • 100 Chris Barsanti
    Lombroso delivers close, often uncomfortable intimacy. He catches his subjects in the heat of the alt-right’s coming-out period in 2016 and 2017, when the mainstream press was just starting to turn over some rocks and write about what oozed out.
    • 46 Metascore
    • 50 Chris Barsanti
    The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
    • 71 Metascore
    • 83 Chris Barsanti
    The movie does not stint on Belushi’s destructive, self-sabotaging, and cruel habits.
    • 80 Metascore
    • 91 Chris Barsanti
    Focusing primarily on the pandemic’s opening act in the first half of 2020, Totally Under Control feels fresh off the editing table. It is so timely, in fact, that an on-screen note at the end informs viewers that one day after it was completed, Trump tested positive for COVID-19. It reads like a punchline to the least funny joke ever told.
    • 62 Metascore
    • 50 Chris Barsanti
    The film looks for an emotional payoff by continually upping the stakes of its main character’s self-destructive short-term thinking.
    • 67 Metascore
    • 58 Chris Barsanti
    As an experiment in format, “America Murder” is intriguing. Instead of bringing people in to give fresh commentary, we have only the artifacts left behind by a seemingly ordinary family in a seemingly ordinary suburb. But as a documentary, it makes for an incomplete picture, like trying to piece together the story of an ancient disaster based only on archaeological fragments.
    • 76 Metascore
    • 63 Chris Barsanti
    It pulses with relevancy in a time when debates over authoritarianism, protests, and the necessity of radicalism are convulsing America.
    • 81 Metascore
    • 100 Chris Barsanti
    A stirring testament to the necessity of empathy for surviving with any kind of dignity in a particularly undignified time.
    • 67 Metascore
    • 38 Chris Barsanti
    The final product feels like it would have been most appropriate as a video presentation for the Democratic National Convention.
    • 97 Metascore
    • 88 Chris Barsanti
    By juxtaposing beautiful vistas filled with promise, a rotted social safety net, and the scrappy itinerant workers navigating the space in between, Zhao generates a gradually swelling tension underneath her film’s somewhat placid surface.
    • 57 Metascore
    • 63 Chris Barsanti
    Jia Zhang-ke’s film is a quietly reflective, intermittently rambling rumination on an explosively momentous period in Chinese history.
    • 70 Metascore
    • 75 Chris Barsanti
    It alternates political ponderings with a loose and discursive subtext in which Hubert Sauper explores the idea of Cuba as an island paradise.
    • 81 Metascore
    • 75 Chris Barsanti
    The film uses endangered press freedom in the Philippines to illustrate the threat posed to liberal democracy by weaponized social media.
    • 56 Metascore
    • 50 Chris Barsanti
    Marjane Satrapi’s film could have benefited from the tangy humor and cynicism of her graphic novels.
    • 70 Metascore
    • 50 Chris Barsanti
    Though it smartly prioritizes the bond of relationships over action, the film is in the end only somewhat convincing on both counts.
    • 83 Metascore
    • 75 Chris Barsanti
    The film smuggles some surprisingly bleak existential questioning inside a brightly comedic vehicle.
    • 47 Metascore
    • 63 Chris Barsanti
    These are desperate times, but if Jon Stewart wants to tack toward a more Frank Capra vein, that’s just fine. We already have one Adam McKay.
    • 70 Metascore
    • 67 Chris Barsanti
    At its best, John Lewis: Good Trouble is a portrait in courage that pairs the past with the present.
    • 54 Metascore
    • 63 Chris Barsanti
    The final product feels like more of an interesting and beautifully filmed anecdote than compelling political and human drama.
    • 77 Metascore
    • 75 Chris Barsanti
    It incorporates addiction, age-inappropriate romance, mental illness, and terminal disease into its plot without collapsing into a movie-of-the-week black hole.
    • 78 Metascore
    • 91 Chris Barsanti
    Given his story’s curlicues and lack of overt judgment, Ree does not appear to be interested in a clear morality story about forgiveness or opposites coming together. However, The Painter and the Thief does leave room for a kind of redemption at its conclusion.
    • 84 Metascore
    • 100 Chris Barsanti
    While it nods to everything from ‘The Twilight Zone’ to ‘Close Encounters of the Third Kind,’ Patterson’s movie is more a tribute to the romance of a breeze-whispered sprawling night and the shivery thrill of not knowing what nameless threats it hides.
    • 69 Metascore
    • 83 Chris Barsanti
    As Odysseus returned home after his troubled journey to find yet more strife, Coogan and Brydon go back to their familiar schtick—long drives and touristy rambles punctuated by expensively minimalist dinners, all of it borne on a tide of joshing, snarky banter—only to discover more discomfort.
    • 73 Metascore
    • 75 Chris Barsanti
    Spaceship Earth is a highly watchable document from a curious cultural convergence in which avant-garde “Star Trek” utopianism met the glare of the mainstream.
    • 69 Metascore
    • 58 Chris Barsanti
    Clumsy and erratic, though possessed of an undeniable bounding and puppy-like energy, How to Build a Girl is a star vehicle for Feldstein that, while it often does not do its star justice, also knows when to just stay out of her way.
    • 53 Metascore
    • 63 Chris Barsanti
    The film functions as a handsomely mounted biopic that tells a little-known story with considerable passion.
    • 72 Metascore
    • 75 Chris Barsanti
    Without Margo Martindale, the film would be a sharp and tightly constructed nautical noir. With her, it becomes a memorable one.
    • tbd Metascore
    • 50 Chris Barsanti
    In the end, the film suffers from the same issue as its moody androids: enervation borne out of repetition.
    • 52 Metascore
    • 63 Chris Barsanti
    The film takes occasional stabs at comic grotesquerie, but it’s brought back to earth by an insistent docudrama seriousness.

Top Trailers