Caleb Hammond

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Collider, The Film Stage
For 23 reviews, this critic has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Caleb Hammond's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 91 The History of Concrete
Lowest review score: 33 In the Blink of an Eye
Score distribution:
  1. Positive: 14 out of 23
  2. Mixed: 8 out of 23
  3. Negative: 1 out of 23
23 movie reviews
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    • 64 Metascore
    • 75 Caleb Hammond
    undertone
    After masterfully plotting the slow build of dread, the climax feels rushed and derivative of other, better horror movies. Yet moments in the climax do succeed; the explanation for that banging-on-pipes sound is unnerving.
    • 64 Metascore
    • 75 Caleb Hammond
    Buddy
    By and large, Buddy proves that high-concept, short-form premises can be expanded to a feature format effectively, so long as the final film isn’t too winky and its stakes feel grounded.
    • 53 Metascore
    • 83 Caleb Hammond
    The Moment
    With a cavalcade of hilarious bits, inspired cinematography, and a willingness to earnestly be about something, The Moment serves as a bold reinvention of a mockumentary genre that, until now, was content to stick with pithy jokes.
    • 63 Metascore
    • 67 Caleb Hammond
    I Want Your Sex
    I Want Your Sex is not quite the comeback for Araki that’s been advertised, but it holds bright spots.
    • 81 Metascore
    • 91 Caleb Hammond
    The History of Concrete
    For those willing to meet Wilson on his wavelength, The History of Concrete is a joyous ride full of his now-trademark detours and persistent, underlying sadness at both the state of New York (his first and true love) and, on a secondary scale, the world at large.
    • 70 Metascore
    • 75 Caleb Hammond
    Eagles of the Republic
    This is a compelling, cleverly constructed comedy-thriller with plenty on its mind. It satirizes the movie industry and authoritarianism while never pushing the comedy into outright farce. And it isn’t afraid to get real when necessary.
    • 72 Metascore
    • 91 Caleb Hammond
    Juror #2
    Juror #2 stands out as the best late-career Eastwood film, from an era with its fair share of gems.
    • 79 Metascore
    • 67 Caleb Hammond
    Conclave
    More airport paperback than theological treatise, Conclave is undeniably silly throughout, but its last-second reveals choreograph the sensibility too openly, undercutting much of what was masterfully unfurled up until that point.
    • 65 Metascore
    • 91 Caleb Hammond
    The End
    The End carries that rare sense of a lack of compromise––a fully realized world from a visionary director. It’s exhilarating to simply exist in this world that Oppenheimer and his team (including co-writer Rasmus Heisterberg) craft.
    • 84 Metascore
    • 80 Caleb Hammond
    Eephus
    Eephus delivers an experience that lingers, successfully capturing a deeper melancholy that can’t be shaken.
    • 64 Metascore
    • 70 Caleb Hammond
    The Apprentice
    The Apprentice is a film that delves into the figures who shaped Trump’s worldview while never becoming a hall pass for the bad behavior of men like him.
    • 78 Metascore
    • 70 Caleb Hammond
    The Substance
    Coralie Fargeat’s The Substance is a film whose style might get in the way of the substance, but it still ensures the filmmaker will have a legion of new horror fans waiting for what she does next.
    • 82 Metascore
    • 83 Caleb Hammond
    Challengers
    It’s cleverly constructed, features the film’s best use of that patented O’Connor smile, and is exhilarating to watch unfold. That its ultimate conclusion feels perfectly attuned to the preceding narrative and its characters’ arcs, while also being impossible to predict, is no small feat.
    • 75 Metascore
    • 83 Caleb Hammond
    Free Time
    Eschewing self-righteousness, Free Time merely presents a collection of observations on how modern life often plays out like an absurdist comedy. Burgess then steps in to provide the inarticulate mouthpiece for a generation of people who are mad as hell and not going to take it anymore, but unsure what the step beyond yelling about it entails.

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