Chris Evangelista

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Slashfilm
For 157 reviews, this critic has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this critic grades 1.3 points higher than other critics. (0-100 point scale)

Chris Evangelista's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Licorice Pizza
Lowest review score: 10 Blumhouse's Fantasy Island
Score distribution:
  1. Positive: 95 out of 157
  2. Mixed: 58 out of 157
  3. Negative: 4 out of 157
157 movie reviews
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    • 38 Metascore
    • 40 Chris Evangelista
    Jurassic World Dominion
    The new trilogy ends frail whimper rather than a T-rex-worthy roar.
    • 68 Metascore
    • 60 Chris Evangelista
    Hustle
    Hustle manages to get by on charm and style, and Sandler gets to remind us again that he has range. "Hustle" isn't a slam-dunk, but it still takes it to the hoop.
    • 65 Metascore
    • 90 Chris Evangelista
    Crimes of the Future
    Crimes of the Future is Cronenberg in his comfort zone, which is a zone choked with things both repulsive and fascinating. It's not quite as nasty as its pre-release reputation suggests, nor is it even the most graphic film Cronenberg has directed. But it's rife with the filmmaker's signatures and quirks; his fetishes and his dreams; his obsessions and his amusements.
    • 32 Metascore
    • 50 Chris Evangelista
    Firestarter
    Firestarter isn't offensively bad. It's not likely to make you angry, or have you calling it the worst dang thing you've ever seen. But it is aggressively average, bordering on mediocre. There's nothing fiery here. It's lukewarm at best.
    • 65 Metascore
    • 75 Chris Evangelista
    Men
    No matter how you end up feeling, you will leave "Men" with questions; questions you'll have to draw your own answers to. There's something exhilarating about a new movie that dares to leave us groping in the dark, wondering where the hell we're going to end up.
    • 38 Metascore
    • 60 Chris Evangelista
    The Mystery of Marilyn Monroe: The Unheard Tapes
    "The Mystery of Marilyn Monroe" too often feels like it's merely scratching the surface and not trying to go much deeper. While I understand that the research of Anthony Summers is what helped shape this doc, Summers himself is far too present here, to the point where the documentary begins to feel more about him writing the book than it is about Monroe.
    • 55 Metascore
    • 70 Chris Evangelista
    Ambulance
    Ambulance is unlikely to convert those who loathe Michael Bay and all he creates. But if you're on board, you're in for one hell of a ride.
    • 35 Metascore
    • 40 Chris Evangelista
    Morbius
    Morbius is the type of movie that fails to justify its own existence.
    • 54 Metascore
    • 50 Chris Evangelista
    Black Crab
    Those craving some gloomy, unforgiving post-apocalyptic drama might get a kick out of what's on display here. Everyone else might want to scurry away. You know, like a crab in the dark.
    • 54 Metascore
    • 40 Chris Evangelista
    Gone in the Night
    Ryder is honestly the only shining light here. ... But she deserves better than the murky slog that is "The Cow."
    • 72 Metascore
    • 90 Chris Evangelista
    The Batman
    Do we really need yet another "Batman" reboot? The answer, after watching Matt Reeves' tremendous The Batman, is apparently a resounding yes.
    • 34 Metascore
    • 40 Chris Evangelista
    Texas Chainsaw Massacre
    This is a movie that very much wants to call back to the original — and in doing so, it inadvertently reminds us of how much better the original was, and how bad this is.
    • 79 Metascore
    • 70 Chris Evangelista
    Kimi
    The plot grows more elaborate and fantastical, but the film itself has its feet firmly on the ground, and Soderbergh seems solely committed to giving us a quick, mid-budget, ultra-sturdy thriller with no pretensions — the type Hollywood doesn't really make anymore.
    • 73 Metascore
    • 60 Chris Evangelista
    2nd Chance
    Bahrani's doc moves at a steady pace, but it also runs through bullet points rather than taking a deeper dive into Richard and his life.
    • 70 Metascore
    • 70 Chris Evangelista
    Resurrection
    The overall experience is chilling to the extreme. The type of chill that seeps its way into your bones and leaves you unprotected and unbalanced.
    • 68 Metascore
    • 70 Chris Evangelista
    The Princess
    It's a handsomely constructed, often addictive documentary – but it's also repeating the same story we've been told again and again.
    • 76 Metascore
    • 65 Chris Evangelista
    Nothing Compares
    At times, "Nothing Compares" can feel like hagiography. It's all a little too slight — so much of O'Connor's life is left out, and the entire thing feels a little bit like the CliffsNotes version of the story. And yet, you also get the sense that if anyone deserves such lionized treatment, it's O'Connor.
    • tbd Metascore
    • 85 Chris Evangelista
    Three Minutes: A Lengthening
    Three Minutes – A Lengthening is not a ghost story, but it still feels haunting.
    • 79 Metascore
    • 60 Chris Evangelista
    You Won't Be Alone
    The problem is that You Won't Be Alone is a film about identity that doesn't have an identity of its own. It is far too indebted to other films.
    • 70 Metascore
    • 50 Chris Evangelista
    Watcher
    It's all appropriately eerie and off-putting, but never quite as satisfying as it should be. Watching Watcher isn't a complete disappointment, but it sure would be nice if there was just a little more to look at.
    • 80 Metascore
    • 90 Chris Evangelista
    Something in the Dirt
    Once again, Benson and Moorhead prove that they can produce a stellar, original film with a tiny fraction of the budget of bigger Hollywood filmmakers. The movie landscape is a far better, weird, and beautiful place with them in it.
    • 75 Metascore
    • 70 Chris Evangelista
    Emily the Criminal
    Plaza's performance, which grows more desperate and more fierce, is what keeps things going. Tension continually mounts and builds, and writer-director Ford stages several anxiety-ridden set-pieces that inspire a sick-to-your-stomach feeling.
    • 65 Metascore
    • 70 Chris Evangelista
    Call Jane
    The film is so laser-focused on Joy there's often no room for anything, or anyone else. But I hope "Call Jane" finds a wide audience, and if the film's somewhat sanitized portrayal of events helps change a few minds in regards to the issues at hand, that will be a net good.
    • 64 Metascore
    • 50 Chris Evangelista
    When You Finish Saving the World
    Awkwardness ends up being the name of the game here, with Eisenberg constructing an intentional cringefest; the type of movie that has you squirming uncomfortably as you're forced to watch oblivious characters make total asses of themselves.
    • 60 Metascore
    • 70 Chris Evangelista
    Scream
    It's a nifty, quick-witted slasher pic, and at this point in this particular franchise, that's more than enough.
    • 69 Metascore
    • 70 Chris Evangelista
    The Pink Cloud
    Without the pandemic, everything here would seem a tad fantastical. Now, we can't help but draw sometimes painful connections. Perhaps it'll hit too close to home. After all, the film makes it clear that there's only so long a person can remain trapped before they start getting desperate.
    • 82 Metascore
    • 90 Chris Evangelista
    A Hero
    In Asghar Farhadi's fascinating, complex A Hero, nothing is simple. And no good deed goes unpunished — if it was even a "good deed" to begin with.
    • 63 Metascore
    • 80 Chris Evangelista
    The Matrix Resurrections
    It would've been incredibly simple to give us a traditional "Matrix 4."  Instead, The Matrix Resurrections takes its big-budget and runs wild with it. And while there are more than a few stumbles here, any modern-day blockbuster that's this unafraid to subvert expectations is worth celebrating.
    • 53 Metascore
    • 40 Chris Evangelista
    The Tender Bar
    In the end, Affleck is the film's only real draw. His funny, uncouth, working-class schlub performance breathes much-needed oxygen into the film's lungs, but at the end of the day, this isn't his story, and it really should've been.
    • 49 Metascore
    • 40 Chris Evangelista
    Don't Look Up
    Worst of all, these final moments of the film make it abundantly clear that as a storyteller and a filmmaker, McKay has absolutely nothing to say about the topics he's skewering, and he shouldn't have even bothered to try. This is a hollow waste of time and talent; a comedy whose idea of humor is simply pointing a finger at something and chuckling obnoxiously. We, as a society, don't just deserve better leaders. We deserve better satire, too.
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