Chris Evangelista

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The Playlist
For 3 reviews, this critic has graded:
  • 66% higher than the average critic
  • 0% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 4.1 points higher than other critics. (0-100 point scale)

Chris Evangelista's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 75 David Lynch: The Art Life
Lowest review score: 67 Front Cover
Score distribution:
  1. Positive: 3 out of 3
  2. Mixed: 0 out of 3
  3. Negative: 0 out of 3
3 movie reviews
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    • 63 Metascore
    • 75 Chris Evangelista
    Blood on Her Name
    Matthew Pope country-fries gutter luck, sizzles up a healthy portion of stand-off tension, and serves one nasty slice of homestyle revenge. Maybe too bleak for some, but sorry. Life isn’t all rainbows and Skittles. Kudos to the filmmakers who don’t shy away from the lows we’re forced to stomach and those failed in the process.
    • 72 Metascore
    • 85 Chris Evangelista
    The Invisible Man
    Moss gives yet another fearless performance – hers is a raw, exposed, physical, and ultimately fierce role, and it’s often stunning to watch the manic energy in her eyes as she attacks a scene.
    • 29 Metascore
    • 40 Chris Evangelista
    Brahms: The Boy II
    It’s a film completely devoid of energy, or atmosphere. It’s so boring at times that it’s almost impressive.
    • 22 Metascore
    • 10 Chris Evangelista
    Blumhouse's Fantasy Island
    Fantasy Island is a failure on nearly every level.
    • 59 Metascore
    • 80 Chris Evangelista
    Joker
    This is the truly subversive comic book movie we’ve been waiting for. Now that it’s here, we might start to regret the monster we’ve conjured up.
    • 64 Metascore
    • 90 Chris Evangelista
    The Lodge
    An icy cold mix of The Shining and religious mania run wild, The Lodge opens with a bang, and never lets up. Take it from someone who doesn’t scare easy: The Lodge is scary as hell.
    • 60 Metascore
    • 65 Chris Evangelista
    The Nowhere Inn
    The film, directed by Portlandia helmer Bill Benz, is too much of a hodge-podge for its own good.
    • 61 Metascore
    • 80 Chris Evangelista
    Horse Girl
    It exists in its own little world, blending genres with surprisingly strong results. What starts off seeming like a quirky rom-com quickly morphs into something far more disturbing, and strange.
    • 64 Metascore
    • 75 Chris Evangelista
    Gretel & Hansel
    Oz Perkins‘s mystical, occult-heavy take on the classic folktale from the Brothers Grimm has so much style, and so many bold ideas, that it seems destined to become a cult classic someday – the type of film people find years from now and ask, “Why the hell haven’t I heard of this before?”
    • 55 Metascore
    • 60 Chris Evangelista
    Wendy
    Wendy should not be written-off entirely, and younger audiences may be taken with the movie’s sugar-rush charms. But in the end, there’s not enough fairy dust in the world to make Wendy fly.
    • 49 Metascore
    • 70 Chris Evangelista
    Downhill
    While the material they’re working with may not be great, it is fun to see Louis-Dreyfus and Ferrell go head-to-head. Maybe they can try doing that again sometime in the future. With a better script.
    • 76 Metascore
    • 90 Chris Evangelista
    Shirley
    This is a fictional biography, and yet every moment rings true.
    • 72 Metascore
    • 100 Chris Evangelista
    Possessor Uncut
    It is a singular work – one so ghastly, so unique, and so brutal that it will awe some and disgust others.
    • 78 Metascore
    • 75 Chris Evangelista
    Kajillionaire
    July – and her performers – find humanity lurking within their quirky oddballs. There’s also plenty of humor to be had, mostly from Wood’s deadpan delivery.
    • 68 Metascore
    • 70 Chris Evangelista
    The Night House
    The horror on display here is so powerful, and Hall’s work is so strong, that you’re bound to come away from The Night House properly haunted.
    • 60 Metascore
    • 50 Chris Evangelista
    Jumbo
    Jumbo is a ride that might be worth taking once, but don’t be surprised if you walk away from it feeling more than a little disappointed.
    • 76 Metascore
    • 75 Chris Evangelista
    Zola
    It’s crass, it’s cruel, it’s wild, it’s often hilariously funny.
    • 65 Metascore
    • 80 Chris Evangelista
    Miss Americana
    Most of all, it’s empowering to watch Swift finally come into her own. To realize she doesn’t have to give a fuck about making everyone in the world like her anymore as long as she’s found a way to like herself.
    • 70 Metascore
    • 65 Chris Evangelista
    Color Out of Space
    As things grow more dire and mad for the Gardners, don’t be surprised if you find your eyes starting to water and your head starting to pound. It’s not an altogether pleasant experience, but it’s probably the exact sort of nightmarish, unquantifiable situation that would make H.P. Lovecraft proud.
    • 80 Metascore
    • 90 Chris Evangelista
    Waves
    With Waves, the director has crafted his most ambitious film to date – a dizzying, weighty, heart-wrenching saga of one family disintegrating right before our eyes.
    • 51 Metascore
    • 70 Chris Evangelista
    The Wave
    Carl W. Lucas‘s script is never quite as smart or profound as it thinks it is, but it does manage to tap into an inherent sweetness – an underlying sense of humanity and acceptance that counter-balances all the chaos and occasional bursts of violence.
    • 59 Metascore
    • 65 Chris Evangelista
    Bad Boys for Life
    It’s the unexpected amount of heart that ends up making Bad Boys for Life a pleasant surprise.
    • 58 Metascore
    • 90 Chris Evangelista
    Jojo Rabbit
    Waititi’s World War II satire is both a magic trick and a high-wire act – the filmmaker keeps pulling rabbits out of his hat while balancing comedy, kindness, and often shocking darkness. The end result is a heartfelt, sweet, blackly comedic coming-of-age journey that tries to find hope in hopeless times.
    • 78 Metascore
    • 90 Chris Evangelista
    1917
    The film underscores its technical prowess with a raw, emotional story that finds beauty struggling to push through all the muck and mire. In 1917, war is hell, but it’s a hell you can find your way back from as long as you remember your humanity.
    • 41 Metascore
    • 55 Chris Evangelista
    The Grudge
    There’s plenty of grisly stuff here, and a lot of it is done practically, which might entice some gorehounds. But that can only go so far. Pesce’s The Eyes of My Mother has ten times less gore than this and still managed to be ten times as scary. Here’s hoping he gets back to making something like that, and soon.
    • 93 Metascore
    • 70 Chris Evangelista
    Uncut Gems
    On one hand, it’s a treat to watch Sandler break out of his endless stream of bargain-basement Netflix comedies to try something like this. On the other hand, by the time the journey ends, you might want to watch one of those terrible comedies just to cleanse your palate.
    • 53 Metascore
    • 50 Chris Evangelista
    Star Wars: Episode IX - The Rise of Skywalker
    There’s so much wasted potential here. As the story draws to its big, loud climax, and one fan-service moment after another arises, you begin to get the sense that Abrams is just checking off boxes and fulfilling a quota. There’s no spark; no joy; no life. If this truly is the end of the Skywalker Saga, what an ignoble end it is.
    • 75 Metascore
    • 75 Chris Evangelista
    David Lynch: The Art Life
    The Art Life is more concerned with the art rather than the life of Lynch, and this is the only true weakness of the doc. While informative to a certain degree, there’s always a sense that something is missing here. That there’s more to Lynch than the film cares to explore.
    • 49 Metascore
    • 67 Chris Evangelista
    Crosscurrent
    As a visual love-letter to the Yangtze River, Crosscurrent takes your breath away. As a narrative film, it’s all washed up.
    • 52 Metascore
    • 67 Chris Evangelista
    Front Cover
    As a filmmaker, Yeung has a keen eye for the quiet spaces where two people can learn more about each other than if they were holding a wordy conversation. If the director could just find a way to balance against his ho-hum dialogue and plotting, Front Cover would make more of an impression, instead of being the sweet but ultimately forgettable film that it is.
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