Todd Gilchrist

Select another critic »
For 105 reviews, this critic has graded:
  • 77% higher than the average critic
  • 0% same as the average critic
  • 23% lower than the average critic
On average, this critic grades 4.4 points higher than other critics. (0-100 point scale)

Todd Gilchrist's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Dark Knight Rises
Lowest review score: 20 Leatherface
Score distribution:
  1. Positive: 75 out of 105
  2. Negative: 4 out of 105
105 movie reviews
    • 59 Metascore
    • 75 Todd Gilchrist
    Ultimately, The Rise Of Gru exerts a negligible impact on the Minions’ canonical journey. If nothing else, the film serves as a reminder of the characters’ cartoonish charms, both literally and thematically, and their transcendent appeal.
    • 63 Metascore
    • 42 Todd Gilchrist
    Unfortunately, what audiences get from Luhrmann is simply excessive: his fast-cutting super-montage style overpowers the subject matter, and the result is an impressionistic, jumbled highlight reel of Presley’s many accomplishments, despite vivid recreations by actor Austin Butler as The King.
    • 65 Metascore
    • 42 Todd Gilchrist
    Answer the call of The Black Phone if you dare. Just be aware that, much like the severed cord dangling underneath the device, there’s a crucial disconnect between the provocative ideas that it sets up, and what it ultimately delivers.
    • 38 Metascore
    • 33 Todd Gilchrist
    There are four or five “so preoccupied with whether they could, they didn’t stop to think if they should” jokes to make here that would suffice as a perfect encapsulation not only of this film, but of the totality of the franchise, but suffice it to say you would be better served by going outside and using your imagination to explore dinosaur-themed ideas than watching how these people spent the hundreds of millions of dollars at their disposal to use theirs.
    • 78 Metascore
    • 91 Todd Gilchrist
    Joe Kosinski (Tron: Legacy) matches his well-established architectural precision with suitably nostalgic but never pandering emotionality, while Cruise commands the screen in a performance that leverages his multimillion-dollar star wattage to brighten the entire film.
    • 60 Metascore
    • 42 Todd Gilchrist
    The film feels like a collection of ideas that never add up.
    • 57 Metascore
    • 75 Todd Gilchrist
    Writer-directors Chris Cullari and Jennifer Raite give us two unreliable narrators to follow on a similar, intertwined path to personal, earth-shattering discovery in The Aviary—and the results make for a visually striking, sonically spooky, and deeply unnerving picture.
    • 55 Metascore
    • 42 Todd Gilchrist
    Ambulance is boilerplate Michael Bay, a thrill ride full of muscle and testosterone and style.
    • 47 Metascore
    • 42 Todd Gilchrist
    Working with what feels like a larger budget and fewer origin-story obligations, returning screenwriters Pat Casey, Josh Miller, along with franchise newcomer John Whittington, create a globe-trotting adventure that touches on fun ideas for viewers of all ages, even if the film is too long and jarring to stick the landing.
    • 35 Metascore
    • 42 Todd Gilchrist
    Director Daniel Espinoza stacks vampire cliches with horror classic visuals in a lackluster, but hardly disastrous, Spider-Man spinoff.
    • 72 Metascore
    • 83 Todd Gilchrist
    As a romantic comedy, 7 Days hardly circumvents a cinematic lexicon of time-honored tropes, but its skill in dismantling stereotypes, sexist beliefs, and even the process of falling in love offers a fresh and charming rejoinder to the cynicism of both its own genre and the emerging repetition of pandemic-set films.
    • 53 Metascore
    • 75 Todd Gilchrist
    Ben Affleck and Ana de Armas, both terrific in their roles, play the couple around whom the film’s meditation on modern sexual relationships revolves, while Lyne proves not only that he can film hot scenes unlike almost anyone in the business, but inject them with a psychological sophistication that complicates their (and our) postcoital bliss.
    • 57 Metascore
    • 75 Todd Gilchrist
    Whether or not the film necessarily works as a narrative feature, Gainsbourg manages to peer inside her mother’s life and lifestyle with an honesty that should make audiences nervous and envious at the same time, seeking answers we may want from our parents but are afraid of enough to be reluctant to ask.
    • 78 Metascore
    • 83 Todd Gilchrist
    X
    While you’re languishing in the performances and period detail, West is sneaking up to pull the rug out from beneath you, or to raze some outdated cliché. X is bloody, ballsy fun.
    • 72 Metascore
    • 88 Todd Gilchrist
    With Pattinson glowering beneath his cowl, Reeves creates a Batman whose psychology is at least as interesting as his crime-fighting activities, for the first time in a long time.
    • 45 Metascore
    • 70 Todd Gilchrist
    Since making his debut with “Zombieland,” director Ruben Fleischer has developed an aptitude for cheerful proficiency (if not a ton of discernible personality) that he deploys to great effect in this brisk pastiche, especially with Tom Holland and Mark Wahlberg bickering their way through one set piece after another.
    • 27 Metascore
    • 50 Todd Gilchrist
    Blacklight is an unsurprisingly tepid action thriller which extends this odd phase of Neeson’s career, but the best thing that can probably be said about it is that it’s not materially worse than most of the others.
    • 79 Metascore
    • 88 Todd Gilchrist
    The control and confidence of its form, paired with an emotionality that is at once effortless and irresistibly powerful, makes the film feel to the audience the way those pointed and yet somehow ephemeral clips in Yang’s memory feel to Jake. In preying on a sensation that’s only indirectly remembered, the impact it makes becomes unforgettable.
    • 44 Metascore
    • 60 Todd Gilchrist
    Vaughn’s third installment in this series is ultimately a pretty lousy movie; again, better than the last one, but that isn’t much of a compliment.
    • 52 Metascore
    • 68 Todd Gilchrist
    It’s a story ripped from at least a few years of headlines, and a subject about which there has been much debate. It may or may not come as a surprise, then, that a single two-hour film fails to sufficiently capture its complexities, even working from a compelling premise with a gifted cast.
    • 74 Metascore
    • 80 Todd Gilchrist
    On a level of sheer cinematic flourish, Miranda’s adaptation is a triumph; he really harnesses Larson’s songs for the screen and gives them tremendous life, whether or not you’d seen them before on stage.
    • 90 Metascore
    • 90 Todd Gilchrist
    Greene’s film explores not just the ability of art to repair emotional and sometimes physical injuries but also the resiliency of the human spirit and the solidarity of a group of individuals collaborating to provide comfort for themselves and each other through shared, unimaginable pain.
    • tbd Metascore
    • 78 Todd Gilchrist
    Without the willingness to connect the dots between his very powerful examples, Chandler creates the opportunity to indict America’s culture of violence and then disappointingly misses his shot.
    • 57 Metascore
    • 78 Todd Gilchrist
    Committed performances by Keri Russell, Jesse Plemons and extraordinary young actor Jeremy T. Thomas vividly communicate the deeper emotional stakes of Antlers, if somewhat unfortunately without adding an ounce of fun or excitement to its mythmaking.
    • 85 Metascore
    • 88 Todd Gilchrist
    The filmmaker’s juxtaposition of overworked physicians and desperate patients offers a concentrated and intimate look at the bottomless, unimaginable depths of loss as well as the indefatigable reservoir of hope that sustains humanity during its darkest moments.
    • tbd Metascore
    • 80 Todd Gilchrist
    Its feverishly edited volume of concert footage and first-person interviews occasionally delivers a slightly dizzying chronology of Bernstein’s life and times, but Tirola does an exceptional job of showcasing the irrefutable truth that he contained a few more multitudes than most.
    • 71 Metascore
    • 80 Todd Gilchrist
    Even if it was long overdue, or maybe precisely because it was, “Black Widow” still felt like the remnant of a timeline before heroes had reached total market saturation. “Shang-Chi,” by comparison, feels like the new beginning that its predecessor was meant to be, as much as anything, because it truly ventures in a new direction — building distantly on the world that has now become common moviegoer knowledge, but adding stylistic flourishes and an unhurried pace from Cretton that suggests it’s content to be its own story instead of a cog in a larger machine.
    • 48 Metascore
    • 65 Todd Gilchrist
    Ultimately, Campbell’s film fails because it can’t decide whether to be cheeky escapism or a thoughtful character study, instead landing in between with something repetitive and too often a little dull.
    • 55 Metascore
    • 50 Todd Gilchrist
    Old
    The filmmaker’s diminishing capacity for recognizing naturalistic human behavior once again presents a problem when the time comes for audiences to relate to, much less care about, characters put through the paces of another elevator pitch that he never develops into a compelling story.
    • 81 Metascore
    • 92 Todd Gilchrist
    The Go-Go’s tackles the seminal all-female ’80s rock band with such honesty, openness and effervescence that it not only rises above that clichéd, almost telegraphed arc but transcends the ranks of other music documentaries to offer a story you desperately want to keep watching, even when you already know where it’s going.

Top Trailers