Chris Cabin

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Collider, Slant Magazine
For 148 reviews, this critic has graded:
  • 29% higher than the average critic
  • 2% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 10.2 points lower than other critics. (0-100 point scale)

Chris Cabin's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Citizen Kane
Lowest review score: 12 What Maisie Knew
Score distribution:
  1. Positive: 70 out of 148
  2. Mixed: 22 out of 148
  3. Negative: 56 out of 148
148 movie reviews
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    • 61 Metascore
    • 38 Chris Cabin
    Haute Cuisine
    Offers all the ingredients for a great feast of enticing visions and thematic concerns, only to have them be prepared, plated, and served with the grace of Elmer Fudd.
    • 78 Metascore
    • 38 Chris Cabin
    Enough Said
    Enough can't be said about how the late James Gandolfini comes so close to saving writer-director Nicole Holofcener's latest articulation of white suburban anxieties.
    • 67 Metascore
    • 38 Chris Cabin
    Mr. Holmes
    Bill Condon ignores the delights and hardships of becoming an artist in lieu of simply presenting the long-touted liberating effects of art.
    • 74 Metascore
    • 12 Chris Cabin
    What Maisie Knew
    David Siegel and Scott McGehee's film renders the rhapsodic Henry James novel of the same name into an abhorrent slice of tasteless familial drama.
    • 74 Metascore
    • 38 Chris Cabin
    Rush
    Ron Howard's by-the-seat-of-your-pants aesthetic makes the slower, darker sequences feel hurried and bland, especially when stacked up next to the racing sequences.
    • 40 Metascore
    • 25 Chris Cabin
    Insidious: Chapter 2
    A full realization of the very worst fears one could imagine when its director, James Wan, unexpectedly emerged from the torture-porn murk with its original, spiritedly directed predecessor.
    • 41 Metascore
    • 25 Chris Cabin
    Chappie
    The film's exasperating atonality washes out any legitimate idea about identity, education, nature versus nurture, or artificial intelligence that Neill Blomkamp hoped to evince.
    • 68 Metascore
    • 38 Chris Cabin
    The Way, Way Back
    Praises the electric carelessness of teenage angst while depicting it as if it were ultimately no more exciting, though no less pleasant, than an hour in the wave pool.
    • 68 Metascore
    • 38 Chris Cabin
    Chef
    Jon Favreau's film comes off as flippant in its view of independent labor as a universally liberating experience for an artist and businessman.
    • 68 Metascore
    • 38 Chris Cabin
    The Double
    Whatever the film's interest may be in the marginalized, writer-director Richard Ayoade never alludes to what would even be worth fighting for in this nightmarish industrial landscape.
    • 63 Metascore
    • 25 Chris Cabin
    World War Z
    The zombies twitch, leap, gnash, and destroy, but the film has all the thrill and surprise of a model U.N. summit.
    • 31 Metascore
    • 25 Chris Cabin
    Teenage Mutant Ninja Turtles
    A film so overworked to ensure mass-market appeal that it loses the charming oddness and loose goofiness that has allowed these characters to endure.
    • 62 Metascore
    • 38 Chris Cabin
    Despicable Me 2
    The script's jumble of plot asides and family-friendly pandering is enough to make you want to root for a hero.
    • 61 Metascore
    • 38 Chris Cabin
    Anchorman 2: The Legend Continues
    The film's half-hearted plea for responsibility and ethics in the news, after joyfully rolling around in its corruption for the majority of its runtime, smacks of plain pandering.
    • 61 Metascore
    • 25 Chris Cabin
    Fast & Furious 6
    Justin Lin strives to approximate something like Ocean's Eleven for petrosexuals, but testosterone outweighs wit and cleverness at every turn in Chris Morgan's starched script.
    • 61 Metascore
    • 38 Chris Cabin
    Metallica: Through the Never
    The songs still sound great here, but the instruments aren't amplified nearly as much as the nostalgia and vanity of the men who wield them.
    • 60 Metascore
    • 25 Chris Cabin
    Kingsman: The Secret Service
    It's tructured in familiar, safe terms, plays for very low stakes, and appeals to no one so much as white, male teenagers with chips on their shoulders.
    • 59 Metascore
    • 12 Chris Cabin
    The Best Man Holiday
    The sexism isn't quite as noxious as one might find in Tyler Perry's films, but that's as far as the compliments go when it comes to this overextended and deeply crude sermon.
    • 58 Metascore
    • 38 Chris Cabin
    Les Coquillettes
    It's hard to ignore the fact that a substantial percentage of Letourneur's would-be character study is dedicated to concentrated Schadenfreude that's unbalanced and without any real narrative weight.
    • 57 Metascore
    • 38 Chris Cabin
    Bad Words
    The meager comeuppance and hasty notes of sweetness that end the film feel pre-approved rather than organically realized.
    • 57 Metascore
    • 38 Chris Cabin
    A Walk Among the Tombstones
    All of Scott Frank's thematic concerns are little more than window dressing for a run-of-the-mill detective story in line with '90s thrillers like The Bone Collector.
    • 57 Metascore
    • 38 Chris Cabin
    The Company You Keep
    A would-be thriller masquerading a long, dry monument to the reliability and comfort of community, blindly cocooned by its own nostalgic self-regard.
    • 56 Metascore
    • 38 Chris Cabin
    Focus
    The film turns out to instead be a strained trumpeting of the return of the proverbial king of the box office.
    • 56 Metascore
    • 38 Chris Cabin
    Will You Still Love Me Tomorrow?
    Arvin Chen's Taiwan is dominated by eccentricity in tone and atmosphere, but in a very careful, pronounced way, as to never really run the danger of being truly strange.
    • 55 Metascore
    • 25 Chris Cabin
    Dom Hemingway
    That Dom is so clearly an up-to-11 caricature, embodied with reliable pizzazz by Jude Law, makes the sentimental moments feel especially false.
    • 55 Metascore
    • 38 Chris Cabin
    Man of Steel
    All its faux-patriotism isn't played for satire, but instead utilized to align the film with an idyllic, unquestioned vision of goodness.
    • 54 Metascore
    • 38 Chris Cabin
    What We Did on Our Holiday
    The underlying, redundant, and underwhelming theme of the film is the pursuit of family unity at all costs.
    • 52 Metascore
    • 38 Chris Cabin
    Peeples
    Tina Gordon Chism's film collapses into a series of clumsy improvisatory sketches, tied up in cheap, risibly sentimental catharsis.
    • 52 Metascore
    • 38 Chris Cabin
    The Interview
    It essentially uses a major global issue to cheaply dress up what is two hours of hit-and-miss erection jokes.
    • 51 Metascore
    • 38 Chris Cabin
    Ender's Game
    Gavin Hood relays a vague sense of what it's like to live in duty, and yet at a distance from one's home, but this vision of the future never rouses, never asks to be remembered.
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