Chase Hutchinson

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Collider, IGN, IndieWire, The Playlist, The Seattle Times, TheWrap
For 403 reviews, this critic has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 1.4 points higher than other critics. (0-100 point scale)

Chase Hutchinson's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 X
Lowest review score: 0 Amsterdam
Score distribution:
  1. Positive: 260 out of 403
  2. Mixed: 103 out of 403
  3. Negative: 40 out of 403
403 movie reviews
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    • 52 Metascore
    • 67 Chase Hutchinson
    The Wave
    La Ola is far from perfect, often losing sight of its broader ideas for less well-executed narrative beats that don’t always cohere, but it still finds a tune where it counts.
    • 75 Metascore
    • 88 Chase Hutchinson
    Time and Water
    Dosa’s film shouts loud and true, giving it a strong chance at enduring — even as it remains painfully aware there is no guarantee anything, no matter how much we love it, lasts forever.
    • 77 Metascore
    • 75 Chase Hutchinson
    Backrooms
    A triumph of cinematography, editing, production design and visual effects, you almost wonder whether Parsons may have ventured into the real backrooms to shoot his film.
    • 91 Metascore
    • 91 Chase Hutchinson
    Minotaur
    Minotaur is searingly political yet controlled and understated, maintaining a cold grip on its narrative as the world around it descends into chaos. Urgent and restrained, personal and political, it is one of the more pointed films about the present state of the world in recent memory.
    • 82 Metascore
    • 90 Chase Hutchinson
    Everytime
    The focused way Wollner writes and directs this ensures that the drama, much like the one memorable early shot, is restrained, never once feeling exploitative of this grief.
    • 98 Metascore
    • 95 Chase Hutchinson
    La Gradiva
    A major work played in a minor key, cinematographer-turned-director Marine Atlan’s magnificent, melancholic and moving feature directorial debut La Gradiva is one of those true discoveries that you only get a few times in life.
    • 56 Metascore
    • 58 Chase Hutchinson
    Colony
    It takes what could be a lean, mean little zombie movie and jams in too much excess noise, when the most impactful bits came from keeping things simple. Even as it’s not without its merits, it’s a film that can’t keep getting out of its own way, constantly stacking more and more nonsense on top of itself until it nearly buckles under the weight.
    • 52 Metascore
    • 70 Chase Hutchinson
    Victorian Psycho
    Even when it does start to eventually run out of steam, Monroe never slows down, making even the quiet moments feel like they could explode at any second. It’s a truly exciting, unpredictable performance that keeps you locked in.
    • 60 Metascore
    • 60 Chase Hutchinson
    Full Phil
    A film about fathers and daughters, men and monsters, mountains of food and clogged toilets, Quentin Dupieux’s farcical pseudo body horror “Full Phil” is the type of movie you’ll either find yourself eating up every minute of or rejecting entirely.
    • 78 Metascore
    • 95 Chase Hutchinson
    The Man I Love
    In Sachs’ spectacular, shattering vision, which he co-wrote with his longtime collaborator Mauricio Zacharias, we witness the stories and the memories that we can only hope our own loved ones will tell of us when we’re gone.
    • 60 Metascore
    • 67 Chase Hutchinson
    The Unknown
    The result is a film that’s both shattering in some moments and superficial in others, making it hard to write off and even harder to fully embrace.
    • 76 Metascore
    • 80 Chase Hutchinson
    The Samurai and the Prisoner
    In each mesmerizing move of the camera or precisely-framed shot, he draws us in closer and closer until we can practically feel the grass under our feet while he simultaneously keeps his sharp eye on the bigger picture.
    • 38 Metascore
    • 80 Chase Hutchinson
    Her Private Hell
    More than the bursts of visceral violence, it’s Refn’s vibrant command of visuals that proves most exhilarating. Even if there was less plot, the consistently dark beauty of the film would be enough to carry it forward.
    • 82 Metascore
    • 67 Chase Hutchinson
    Fjord
    There are many promising pieces here and some great performances, though little in the way of actual meaningful insights.
    • 68 Metascore
    • 90 Chase Hutchinson
    Hope
    Hope, the all-time great new action film from writer-director Na Hong-jin, is a glorious genre romp that contains more magnificent moments in its opening act than most do in their entire runtime.
    • 54 Metascore
    • 67 Chase Hutchinson
    Sheep in the Box
    Even a lesser Kore-eda is still at least interesting, even frequently insightful, about the ways that we move through a world of pain and loss. It’s just a shame that, for a film that’s ultimately about the power of imagination and our ability to tell stories as a way of enduring, this one was unable to dream bigger.
    • tbd Metascore
    • 80 Chase Hutchinson
    We Are Aliens
    A frequently stunning work of animation that’s also a haunting portrait of isolation, the destructive insidiousness of bullying and our own capacity for cruelty, Kohei Kadowaki’s formidable feature debut “We Are Aliens” is a film of fascinating layers.
    • 49 Metascore
    • 10 Chase Hutchinson
    Propeller One-Way Night Coach
    Playing like an extended fever dream defined by shallow snapshots of memories, incessant narration by Travolta himself, a gallery of cartoonish, one-note characters, and a poisonous, perfunctory sense of nostalgia, it’s a disaster that leaves no survivors.
    • 86 Metascore
    • 90 Chase Hutchinson
    Clarissa
    Yet for all the sadness at the core of its story, “Clarissa” is captivating in how honestly and openly it confronts that emotion.
    • 76 Metascore
    • 70 Chase Hutchinson
    The Beloved
    It writes what can feel like the equivalent of a hate letter to the movies (or at least the potential for abuse that can come from how they’re made) before eventually coming to his own halting emotional upswing about the enduring power they still hold.
    • 77 Metascore
    • 70 Chase Hutchinson
    Nagi Notes
    Much like the central sculptures that become the focal point of its best scenes, Kôji Fukada’s “Nagi Notes” is a film defined by a sense that the filmmaker is trying to chip away at something.
    • 91 Metascore
    • 90 Chase Hutchinson
    Teenage Sex and Death at Camp Miasma
    Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is a joyous blast of a film about sex, desire, and death with a killer yet vulnerable performance by Hannah Einbinder.
    • 93 Metascore
    • 100 Chase Hutchinson
    Blue Heron
    A film whose quietly flooring opening frames of a vast landscape becoming home to a compassionate story of a Hungarian-Canadian family navigating an uncertain world together already signal it as a major work, writer/director Sophy Romvari’s intimate and incisive Blue Heron only grows even greater from there.
    • 82 Metascore
    • 88 Chase Hutchinson
    The Stranger
    It’s faithful to the book without being overly devout, asking a multitude of deeper, more probing questions while reflecting on the same unsettling and existentialist ones that the book did. By the time it closes with its unexpectedly mournful yet gently searing final frames, reinterpreting and expanding on the enduring source material one final time, it names all that Camus did not.
    • 72 Metascore
    • 90 Chase Hutchinson
    Erupcja
    It’s the least Charli XCX movie yet, with her disappearing into her role so completely that it's often breathtaking to witness, but it's also the one that marks her arrival as an essential voice.
    • 71 Metascore
    • 63 Chase Hutchinson
    Exit 8
    It makes for an entertaining watch in which the attention to detail in every technical element helps smooth over the scattered and superficial story’s many residual shortcomings.
    • 52 Metascore
    • 16 Chase Hutchinson
    Touch Me
    Heimann is so focused on the spectacle of it all that he forgets to do anything with it emotionally or formally, dragging everything to a close, as we return back to the beginning with little of anything meaningful or engaging occurring over the film’s running time.
    • 51 Metascore
    • 42 Chase Hutchinson
    Pretty Lethal
    In the end, “Rhythm Is A Dancer” remains a classic banger, but Pretty Lethal never finds any remotely memorable rhythms of its own.
    • 50 Metascore
    • 80 Chase Hutchinson
    They Will Kill You
    They Will Kill You is a modern action gem with a knockout leading performance by Zazie Beetz, who more than cements her status as a star of the genre we ought to see more of.
    • tbd Metascore
    • 91 Chase Hutchinson
    Wishful Thinking
    Wishful Thinking is then one of those great films about love that treats it not just as an abstract concept, but as a living, breathing, and constantly evolving state of being, painting a full portrait of its couple who find themselves swept up in it. You fall in love with the film just as you do both of its characters, together and separately, even as they may, too, break your heart.
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