For 54 reviews, this critic has graded:
  • 62% higher than the average critic
  • 11% same as the average critic
  • 27% lower than the average critic
On average, this critic grades 9.5 points lower than other critics. (0-100 point scale)

Chris Klimek's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 90 Herb & Dorothy 50X50
Lowest review score: 10 The Human Race
Score distribution:
  1. Positive: 16 out of 54
  2. Negative: 9 out of 54
54 movie reviews
    • 35 Metascore
    • 50 Chris Klimek
    It’s handsomely shot and reasonably well-acted, and it’ll likely get Martin better gigs as a director, if not a screenwriter.
    • 24 Metascore
    • 50 Chris Klimek
    There’s a certain undeniable gravity to John’s tragic arc. But Dawn Patrol feels distended and awkwardly paced despite a lean, 87-minute runtime.
    • 60 Metascore
    • 60 Chris Klimek
    Ariely’s inquiries into how and why we stretch, reframe, or ignore entirely the truth are certainly eye-opening, but he and Melamede are better at demonstrating the ubiquity of subterfuge than prescribing remedies for it.
    • 59 Metascore
    • 60 Chris Klimek
    There’s a lot going on in this movie. But all that texture turns out to be a virtue.
    • 63 Metascore
    • 50 Chris Klimek
    Bauckman and Belliveau don’t connect their observation of Scott to a larger idea, and their interest never seems rooted in anything more empathetic than morbid curiosity.
    • 33 Metascore
    • 40 Chris Klimek
    At least Outcast’s rustic sets and costumes look lived-in and real.
    • 40 Metascore
    • 50 Chris Klimek
    Though it strives mightily to compete in every category, it’s not as funny as Guardians, as awe-inspiring as Interstellar, as thrilling as Edge Of Tomorrow, or as provocative as Under The Skin.
    • 28 Metascore
    • 30 Chris Klimek
    Supremacy is a well-acted, abysmally written, deeply unpleasant exercise that pays no dividends of insight (or heaven forfend, amusement) for the chore of enduring its endless racial epithets and handheld shots of gun barrels in faces.
    • 36 Metascore
    • 60 Chris Klimek
    It works, mostly, thanks to Helberg’s committed, vanity-free performance, and to the bubbly chemistry between him and the luminous Melanie Lynskey as Devon, his first and only love.
    • 35 Metascore
    • 40 Chris Klimek
    Greg Francis’ writing and directing feature debut plays like a thoroughly mundane mashup of grim David Ayer cop movies like Training Day, neo-noirs like The Usual Suspects, and green-tinted, subterranean torture flicks like Saw for long enough that when Francis turns out to have an ace up his sleeve, it’s a genuine surprise. Not enough to put the movie into the black, but enough to mark him as a talent to watch.
    • 21 Metascore
    • 20 Chris Klimek
    Reach Me wants to be masterpiece, but it’s a finger painting. By Captain Hook.
    • 37 Metascore
    • 40 Chris Klimek
    This feature directing debut from X-Men, X2, and Watchmen screenwriter David Hayter is basically a bloodier, drastically more hirsute remake of Footloose set in the sleepy Canadian tax haven of Lupine Ridge, where most of the residents are actually… well, if you guessed “vampires,” you’re close.
    • 29 Metascore
    • 40 Chris Klimek
    This movie is so colorless, odorless, and (especially) tasteless, so devoid of mass or substance, that it’s easy to forget even while it’s still playing.
    • 48 Metascore
    • 50 Chris Klimek
    Will Bakke’s Believe Me is a textbook lesson in how glossy cinematography and an appealing cast can compensate for an undercooked script.
    • 67 Metascore
    • 50 Chris Klimek
    It isn’t a documentarian’s job, necessarily, to prescribe remedies for the social problems she reports. But de Mare and Kelly never get as far as framing the scope of the problem in any real way.
    • 66 Metascore
    • 60 Chris Klimek
    He seems like one of the least neurotic men on the planet, and yet how could that describe someone who lived with a heavy secret for 68 years? That’s the question Kroot’s film circles without ever managing completely to ask, much less fully answer.
    • 58 Metascore
    • 80 Chris Klimek
    It’s so high on the thrill of discovery that it might even win over people who can’t stand the guy.
    • 30 Metascore
    • 20 Chris Klimek
    [Andrews] and screenwriter Jake Wade Wall seem fully aware of the long line of icky horror comedies that precede theirs, but their attempt isn’t scary enough for homage or funny enough for satire.
    • 22 Metascore
    • 30 Chris Klimek
    The sumptuous production values and stirring performances that make the equally brutal Game Of Thrones so irresistible are nowhere in evidence in Battle For Blood, which has all of Thrones’ savagery, but none of its mystery.
    • 36 Metascore
    • 50 Chris Klimek
    Sex Tape is warmer and more amusing than its ads would lead one to believe. In fact, it’s almost good enough, leaning a little too hard on the innate likability of stars Cameron Diaz and Jason Segel.
    • tbd Metascore
    • 70 Chris Klimek
    This is an accessible, briskly paced documentary about a phenomenon that warrants exactly the level of investigation Hodges has given it here.
    • 30 Metascore
    • 40 Chris Klimek
    Nothing is revealing or surprising in this horse-beating tale of spiritual poverty among the extremely wealthy. It’s uninvolving enough to make Ayn Rand herself beg for a bailout.
    • 77 Metascore
    • 80 Chris Klimek
    Code Black doesn’t suggest ways to improve health care in America, but it at least documents one of the most noble and necessary professions with insight and humility.
    • 44 Metascore
    • 60 Chris Klimek
    The performances, particularly from Towne and Tighe, go a long way toward making the story’s improbabilities seem trivial.
    • 32 Metascore
    • 10 Chris Klimek
    On your mark, get set, go find something else to watch! Because The Human Race, a dreary, smeary, low-low-budget but even lower-inspiration horror flick from British writer-director Paul Hough, is likely to leave viewers rueing the craven, disappointing species into which they were, through no fault of their own, born.
    • 61 Metascore
    • 70 Chris Klimek
    An important film despite some baffling presentational choices.
    • tbd Metascore
    • 50 Chris Klimek
    Hertz hasn't framed his subjects' stories into a singular, compelling narrative.
    • 40 Metascore
    • 40 Chris Klimek
    This is an almost scene-for-scene remake — but not a shot-for-shot remake, which likely would have been more enjoyable.
    • 65 Metascore
    • 70 Chris Klimek
    It’s clearly more interested in dissecting these characters than in solving the mystery of Matthew’s disappearance. That’s the advantage of casting actors like Collette and Church, who can lure viewers into a confident familiarity, then reveal something deeper.
    • 51 Metascore
    • 80 Chris Klimek
    With his thin-lipped, narrow-eyed, disquietingly symmetrical face, Mikkelsen is nearly as good a prop as he is an actor. That impassive but selectively expressive mug is what makes Age Of Uprising’s climax shocking and memorable, but not at all in the way viewers will be conditioned to expect.

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