Jaime N. Christley

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For 47 reviews, this critic has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Jaime N. Christley's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 In Jackson Heights
Lowest review score: 0 Wrath of the Titans
Score distribution:
  1. Positive: 30 out of 47
  2. Negative: 11 out of 47
47 movie reviews
    • 82 Metascore
    • 75 Jaime N. Christley
    The threat of feeling slighted links every small and large ripple of drama in Kelly Reichardt's film.
    • 68 Metascore
    • 75 Jaime N. Christley
    The premise of the film is simple, but it's a simplicity that can only attract complications, as simple plans are apt to do, in an atmosphere of foreboding and the macabre.
    • 56 Metascore
    • 63 Jaime N. Christley
    Joy
    David O. Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells.
    • 76 Metascore
    • 38 Jaime N. Christley
    What pushes the film, at long last, into the icy river, is its very design, as a monument to slick, mercenary grandeur.
    • 81 Metascore
    • 100 Jaime N. Christley
    The lightning in the film’s bottle isn’t some generic feel-good humanism, but a complicated one, fighting for its own existence, sometimes angry, sometimes despondent.
    • 70 Metascore
    • 75 Jaime N. Christley
    In order to make the walk, and in order for it to matter to him, Philippe Petit has to comprehend it as real and impossible. Zemeckis teaches us the same lesson.
    • 80 Metascore
    • 50 Jaime N. Christley
    The film goes in for the idea of texture and tics and human behavior, but there's no conviction, and no real push for eccentricity.
    • 73 Metascore
    • 88 Jaime N. Christley
    The film turns what at first seemingly appears as Kodak moments into a study of a soul in transition.
    • 77 Metascore
    • 50 Jaime N. Christley
    One may feel dissatisfied by the 11th-hour turn toward lyrical fatalism, and mildly insulted by the presumptuous attitude it seems to choose as it sends us on our way.
    • 71 Metascore
    • 50 Jaime N. Christley
    As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it's a tiresome sequel doesn't save it from being a tiresome sequel, even as Lord and Miller struggle to conceal the bitter pill of convention in the sweet tapioca pudding of wall-to-wall jokes.
    • 69 Metascore
    • 75 Jaime N. Christley
    The essayistic remembrances provide the filmmakers with a brilliant exit strategy when the noir business has nowhere to go but in circles.
    • 76 Metascore
    • 75 Jaime N. Christley
    It's a final film in the specific sense of Raúl Ruiz designing the larger part of it around a metaphorical contemplation of his own, imminent demise.
    • 62 Metascore
    • 75 Jaime N. Christley
    Glides from a mildly off-putting opening across several scenes that waver between sitcom superficiality and sudden, unexpected gusts of feeling, ultimately ending on a note of perfectly judged emotional ambivalence.
    • 65 Metascore
    • 88 Jaime N. Christley
    Triumphs when David Chase's empowerment as a kind of autobiographical historian is balanced with the thrill of submersing the viewer in the tidal pool of his memories
    • 39 Metascore
    • 88 Jaime N. Christley
    At this point in the franchise, Anderson is content to alight the saga on a perpetual rewind loop, ever-ending, ever-rebooting, all subsidized by his nonpareil compositional sense.
    • tbd Metascore
    • 88 Jaime N. Christley
    Regarding Michel Piccoli's Max, Claude Sautet's film resists judgment, neither condoning nor signposting the despicable nature of his choices.
    • 61 Metascore
    • 63 Jaime N. Christley
    One successful set piece in 135 minutes, and it involves very little running, no parkour, and no genetically enhanced superheroes from clandestine government projects.
    • 49 Metascore
    • 12 Jaime N. Christley
    Caters almost exclusively to the remedial, Duplo Blocks demographic, leaving parents and guardians bored to distraction.
    • 60 Metascore
    • 75 Jaime N. Christley
    In spite of its lazy, cookie-cutter screenplay, simple narrative mechanics are only dutifully observed to the extent that they step aside to make way for numerous flights of madness.
    • 75 Metascore
    • 88 Jaime N. Christley
    After a few turns in the modest narrative, an unlikely sense of structural resilience begins to emerge.
    • 69 Metascore
    • 63 Jaime N. Christley
    While The Avengers exhibits exemplary craftsmanship, Joss Whedon hasn't made a great film.
    • 44 Metascore
    • 38 Jaime N. Christley
    While full of welcome gore and blood spatter, it's bankrupt of any creative spark.
    • 83 Metascore
    • 88 Jaime N. Christley
    The geometry of human relationships is the main theme of Hong Sang-soo's The Day He Arrives.
    • 56 Metascore
    • 75 Jaime N. Christley
    After what seems like an eternity of inanity and incompetence in the realm of Cats & Dogs and Squeakquels, the Farrelly brothers' direction is downright classical.
    • 72 Metascore
    • 63 Jaime N. Christley
    The Cabin in the Woods, regardless of its many genealogical links to prior Whedon creations, is an ideal Hollywood film in the Age of Pixar: spectacle for spectacle's sake, but infiltrated by intelligent commentary and an atmosphere of generosity and inclusion.
    • 37 Metascore
    • 0 Jaime N. Christley
    Made possible by the half a billion dollars Clash of the Titans garnered worldwide, Wrath of the Titans sputters and coughs on the fumes of its own inevitability.
    • 54 Metascore
    • 50 Jaime N. Christley
    It's only natural that Abel Ferrara's vision of the end of the world should take corporeal form as a quasi-autobiographical hangout movie.
    • 73 Metascore
    • 63 Jaime N. Christley
    This mostly no-nonsense, floor-by-floor ass-kicking panorama is admirably humble.
    • 69 Metascore
    • 75 Jaime N. Christley
    Like many almost-great comedies, 21 Jump Street is frontloaded with the best go-for-broke gags and lines.
    • 51 Metascore
    • 12 Jaime N. Christley
    As film theorist Siegfried Kracauer once wrote, to paraphrase, art often blooms in the most hostile soil. No such luck here.

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