Chris Packham

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For 151 reviews, this critic has graded:
  • 41% higher than the average critic
  • 10% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 11.1 points lower than other critics. (0-100 point scale)

Chris Packham's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Match
Lowest review score: 0 Freedom
Score distribution:
  1. Positive: 62 out of 151
  2. Negative: 44 out of 151
151 movie reviews
    • 41 Metascore
    • 50 Chris Packham
    Director Jonathan Watson’s super-violent Arizona is a well-done but chilly and essentially unlovable black comedy with one tiny spark of warmth — Rosemarie DeWitt’s performance.
    • 73 Metascore
    • 70 Chris Packham
    Keith’s sincerity and depth of feeling are embodied in Lombardi’s performance.
    • 73 Metascore
    • 70 Chris Packham
    Noi Na’s subsequent acclimation to her new home in the refuge is hopeful, but Chailert’s bravery, sacrifice, and manifest love are the only redemption the film holds out for humans.
    • tbd Metascore
    • 70 Chris Packham
    Anyone who’s worked in editorial or a similar environment will recognize the staff’s focus, creativity, and sharpness.
    • 57 Metascore
    • 60 Chris Packham
    The script is only lightly didactic and well-paced, and it nods toward the adults in the audience mainly by not insulting their intelligence.
    • 73 Metascore
    • 80 Chris Packham
    Though set at a specific moment in time, the film could be about terminal cancer patients or condemned prisoners, a deeply felt catalog of the behaviors of men who know they’re about to die.
    • 57 Metascore
    • 70 Chris Packham
    Director Kaspar Astrup Schröder’s gorgeous film is informed by that same charm and intelligence the way a sailboat is informed by 7 knots of westerly breeze.
    • 71 Metascore
    • 80 Chris Packham
    The loose structure is bound by a thread of motherhood. Sonia’s children, two daughters and a son, are lively, intelligent, and deeply affected by their parents’ trauma.
    • 55 Metascore
    • 20 Chris Packham
    Such is the case of The Osiris Child, a series of scenes that cut away from interesting developments to flashbacks with a vengeance, as though “interesting developments” killed director Shane Abbess’s dog.
    • 79 Metascore
    • 70 Chris Packham
    This film is unusually slow-paced for its genre, but Zahler’s screenplay is driven by a solid central character and dialogue that might have made Elmore Leonard sit up straight.
    • 26 Metascore
    • 10 Chris Packham
    Holmesburg Prison in Philadelphia is the unscary film’s only source of spookiness.
    • 15 Metascore
    • 0 Chris Packham
    It’s completely unfair to compare these characters to (say) Abbi and Ilana on Broad City, funny women who derive dignity from their friendship. But that’s a show written, created, and performed by women, while this film’s creative trust is a clueless, retrograde sausage festivus.
    • tbd Metascore
    • 40 Chris Packham
    Director Finn Taylor’s Unleashed is an inoffensive Hallmark card of an indie comedy, as indifferently intended by the sender as it is regarded by the recipient.
    • 45 Metascore
    • 30 Chris Packham
    Lambert aims for gentle, Lake Wobegon–ish nostalgia, but the jokes never land, the undifferentiated small town confers no sense of location, and its eccentrics aren’t particularly weird.
    • 31 Metascore
    • 20 Chris Packham
    Kill Switch is an ungainly hybrid of two totally disparate mediums that have been Human Centipede-d together: film and first-person-shooter video games. Film is not the front end of this configuration.
    • 35 Metascore
    • 30 Chris Packham
    Though it’s not very scary, the film mines suspense from Jack’s attempts at luring his victims and hiding his tracks.
    • 75 Metascore
    • 70 Chris Packham
    Though Wajda admires this struggle, the artist’s final pursuit never seems redemptive in the depths of Strzemiński’s isolation and misery.
    • 64 Metascore
    • 60 Chris Packham
    Well-written and inoffensively directed by Jeff Grace, the film suffers from an overall brown color.
    • 42 Metascore
    • 70 Chris Packham
    Though visually expansive, however, the film feels emotionally intimate.
    • tbd Metascore
    • 80 Chris Packham
    Rackstraw Downes: A Painter is glacial and mesmerizing, the documentary equivalent of droning Tibetan singing bowls, a work crafted to induce its audience into the same contemplative state as its subject at work.
    • 70 Metascore
    • 80 Chris Packham
    In this stylish documentary, Cattelan talks effusively on camera about his career, his work, and his private life in unexpectedly candid interviews.
    • 44 Metascore
    • 50 Chris Packham
    Despite the bad acting, self-importance and general Herzogian ridiculousness, the director actually has a deep sense of beauty and a genuine talent for communicating humanity’s scale against immense natural forces and the absolute howling vastness of time.
    • 34 Metascore
    • 80 Chris Packham
    The film is wallpapered with beatings, shootings and bloodshed, so its genuine sensitivity to trans issues is welcome and surprising.
    • 33 Metascore
    • 10 Chris Packham
    Atomica's slapdash script is a hasty aggregation of screenwriting and science fiction clichés, barely feature-length and possibly written over a single weekend.
    • 69 Metascore
    • 80 Chris Packham
    As a writer, Kornbluth is vivid, funny and skilled at conveying characters, qualities he actually matches in performance.
    • 43 Metascore
    • 30 Chris Packham
    Because we see so much of ourselves in them, it’s nearly impossible not to anthropomorphize dogs. Which the filmmakers know, and exploit in the same way that a dog exploits an unattended burrito on the counter — enthusiastically, with no compunctions and not a thought in its head.
    • 73 Metascore
    • 70 Chris Packham
    Saving Banksy, in documenting the struggle of art consultant Brian Greif to preserve a single Banksy painting — one of the artist's trademark Che Guevara rats — inadvertently demonstrates that nearly every response to Banksy's work is wrong.
    • 55 Metascore
    • 40 Chris Packham
    Lynskey is a luminous counterpoint to Phillips's energetic earthiness, but they can't lift a story with so much killjoy ballast.
    • 64 Metascore
    • 60 Chris Packham
    Toller's film is narrated entirely by Fields via a series of lengthy recorded interviews that unwind jerkily, like a misshapen bolt of yarn over hundreds of still photos, Super-8 footage, and hand-drawn animations.
    • 57 Metascore
    • 80 Chris Packham
    Burton scales his finale down to the size of a tourist boardwalk for an unexpectedly gripping crowd-pleaser of an action scene.

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