Chris Azzopardi

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The New York Times
For 13 reviews, this critic has graded:
  • 38% higher than the average critic
  • 7% same as the average critic
  • 55% lower than the average critic
On average, this critic grades 1.7 points lower than other critics. (0-100 point scale)

Chris Azzopardi's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 90 Departures
Lowest review score: 40 The Map That Leads to You
Score distribution:
  1. Positive: 7 out of 13
  2. Mixed: 6 out of 13
  3. Negative: 0 out of 13
13 movie reviews
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    • 82 Metascore
    • 70 Chris Azzopardi
    Paying for It
    Paying for It keeps its narrative tight, perhaps overly simple. There’s space to savor the retro intimacy, amplified by the film’s striking primary colors and lo-fi rock soundtrack. Lee — while only gesturing toward the complexities of open arrangements — captures Chester and Sonny in a fleeting time that feels soft, but not shy.
    • 73 Metascore
    • 80 Chris Azzopardi
    Griffin in Summer
    A winking ode to queer youth who still dream — too fiercely, too soon — amid self-discovery and family disruption, Griffin in Summer gives aching shape to a child’s need for order in a world that defies their understanding.
    • 72 Metascore
    • 90 Chris Azzopardi
    DJ Ahmet
    In this strikingly assured debut, the writer-director Georgi M. Unkovski demonstrates gentle realism, paired with luminous cinematography and a superb young cast.
    • 71 Metascore
    • 60 Chris Azzopardi
    Unicorns
    Hardy peels back the layers to reveal Luke’s sexual awakening so viscerally that it’s easier to overlook the film’s narrative shortcuts.
    • 67 Metascore
    • 90 Chris Azzopardi
    Departures
    Departures is still tender and winsome, with graphic-novel-style animation lightening the load, but is ultimately punishing in tone. It lives by a truth that might ring familiar for gay men particularly: Humor that cuts deep is a form of survival.
    • 65 Metascore
    • 70 Chris Azzopardi
    Plainclothes
    While the writer-director Carmen Emmi’s evocative debut relies on a nostalgically textured aesthetic that sometimes seems to mask its thin narrative, the heat builds in unexpected ways, ultimately igniting through the quiet agony of living as someone you’re not.
    • 65 Metascore
    • 70 Chris Azzopardi
    Selena y Los Dinos
    It’s an accessible presentation for fans. Others may find it too insider-focused, even as it renders Selena’s symbolic self more human.
    • 65 Metascore
    • 70 Chris Azzopardi
    Wild Diamond
    Khebizi brings palpable desperation to the role of Liane, despite the limited script, while the cinematographer Noé Bach intimately frames Liane like we’re intruding on her space.
    • 56 Metascore
    • 40 Chris Azzopardi
    Forbidden Fruits
    Though Reinhart and Pedretti chew through the scenery with dedication, the film, directed and written by Meredith Alloway, is a vibes-only pastiche that has little to add to the satirical queen-bee subgenre besides some updated slang.
    • 52 Metascore
    • 40 Chris Azzopardi
    The Hand That Rocks the Cradle
    While De Mornay was chilling as a woman haunted by a miscarriage and her husband’s suicide, Monroe is merely chilly, lumbering like a mopey teenager stuck with reciting unintentionally funny lines that aim for sexy but kill the mood.
    • 48 Metascore
    • 40 Chris Azzopardi
    The Map That Leads to You
    Ultimately, the romance’s sentimental plotting needs more of Heather’s grounded logic and far less of Jack’s greeting card sayings. She’s much too sensible to lose herself so quickly to his brand of bland.
    • 44 Metascore
    • 50 Chris Azzopardi
    Dracula
    The movie’s intermittent flippancy is its lifeblood, with Christoph Waltz’s cheeky vampire hunter delighting even when he seems to be off doing his own thing.
    • tbd Metascore
    • 60 Chris Azzopardi
    A Very Jonas Christmas Movie
    While the vanilla songs lack magic, the dad jokes and brotherly roasting feel like their own kind of delightfully unserious gift.

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