Christina Newland

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For 53 reviews, this critic has graded:
  • 52% higher than the average critic
  • 7% same as the average critic
  • 41% lower than the average critic
On average, this critic grades 3.8 points higher than other critics. (0-100 point scale)

Christina Newland's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 Hard Truths
Lowest review score: 20 Joker: Folie à Deux
Score distribution:
  1. Positive: 29 out of 53
  2. Mixed: 23 out of 53
  3. Negative: 1 out of 53
53 movie reviews
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    • 65 Metascore
    • 80 Christina Newland
    Eddington
    With its well-observed, often darkly hilarious details of oddball inhabitants and chilling deployment of the chaotic overwhelm of social media in our lives, Eddington walks a thin line between dread and comedy.
    • 65 Metascore
    • 60 Christina Newland
    The End
    Even if the film can feel airless at times, with long, solid shots of the survivors’ banal everyday lives, it does have much to say on the foibles of mankind – and the way society may very feasibly backslide into, well, The End. That, to me, is worth giving a chance.
    • 65 Metascore
    • 80 Christina Newland
    The Smashing Machine
    It manages to avoid cliché, making Kerr tender in one moment and dubious the next, smashing in doors and, at his worst in the throes of addiction, collapsing into sobs
    • 65 Metascore
    • 80 Christina Newland
    The Fantastic Four: First Steps
    It is a convincing, emotionally arresting, and visually appealing antidote to the complex muddle of so many recent superhero films.
    • 64 Metascore
    • 80 Christina Newland
    Gladiator II
    Exhilarating, satisfying, classical with a touch of tongue-in-cheek: Gladiator II ticks all the boxes, and does it with panache.
    • 64 Metascore
    • 40 Christina Newland
    The Apprentice
    Glossy, grotesque, and intriguing even as you hate yourself for getting sucked into it, this isn’t an awful film. It just shouldn’t exist.
    • 63 Metascore
    • 80 Christina Newland
    I'm Your Woman
    This stylish, quietly suspenseful crime film offers a rejoinder to the typical macho ’70s genre, focusing on the female experience in a compelling, nuanced way.
    • 63 Metascore
    • 80 Christina Newland
    Bring Them Down
    This is a gnarly and fascinating thriller whose characters feel genuinely dangerous and unpredictable.
    • 62 Metascore
    • 60 Christina Newland
    Joy
    Joy doesn’t reinvent the wheel, but it satisfyingly brings these stories to the screen in a typically prosaic, no-fuss British manner.
    • 62 Metascore
    • 40 Christina Newland
    The Monkey
    The Monkey is surprisingly lacking in any good ideas. In fact, it’s the worst thing a horror film can be: boring.
    • 61 Metascore
    • 60 Christina Newland
    The Uninvited
    There is monologuing, there is pacing the floor, there is possibly too much wordiness for what is ultimately a visual medium. But its characters and the performances are intriguing enough to keep the suspense going.
    • 60 Metascore
    • 80 Christina Newland
    House of Gucci
    A wobbly and unstoppable juggernaut, barrelling ahead with the brazen confidence of a flashy Italian supercar with its ‘check engine’ light on, House of Gucci is a glorious, trashy crime melodrama based on real life. It pings from tragicomic to tragic to unintentionally funny from moment to moment: sometimes in the same scene.
    • 58 Metascore
    • 60 Christina Newland
    Christy
    Celebrating the triumphs of a brave female athlete, and boasting a strong central performance from a transformed Sydney Sweeney, Christy is a well-meaning but meandering feminist parable.
    • 57 Metascore
    • 80 Christina Newland
    Spinal Tap II: The End Continues
    Spinal Tap II: The End Continues may not have the brown M&M joke or cultish appeal of its original, but it gets great and lovable mileage out of just how good those first jokes were – mini-Stonehenge replica included. You’d have to be a curmudgeon not to think it was fantastic fun.
    • 56 Metascore
    • 60 Christina Newland
    Mufasa: The Lion King
    Jenkins is the kind of talent who can turn his hand to almost anything and Mufasa is a respectable film as a result.
    • 56 Metascore
    • 60 Christina Newland
    Nightbitch
    When Heller is metaphorically exploring the potentially horrifying physical transformation of pregnancy and post-partum life – and the personal sacrifices of identity, career, and self that women face when they become mothers – Nightbitch has a lot of smart, real things to say.
    • 55 Metascore
    • 60 Christina Newland
    Megalopolis
    There’s a sense of tinkering originality to the film that feels unlike anything else being made at the moment.
    • 47 Metascore
    • 40 Christina Newland
    Salem's Lot
    A fresh Stephen King adaptation should be exciting. It’s a shame, then, that Salem’s Lot – a small-town vampire chiller set in 1970s Maine – has absolutely zero new ideas or even a particularly frightening take on the old story.
    • 47 Metascore
    • 58 Christina Newland
    A Brighter Tomorrow
    For every engaging character-driven moment or bit of warm humor (Giovanni angrily shouting “I’m going to call Martin Scorsese” certainly got the audience in Cannes laughing), there’s unearned, even irritating quirkiness.
    • 46 Metascore
    • 20 Christina Newland
    Joker: Folie à Deux
    What a staggeringly stupid film. Joker: Folie à Deux is a sequel that did not need to exist. It’s an unspeakably self-indulgent, two-hour-plus beast of hodge-podge musical numbers wedged between drab prison and courtroom scenes.
    • 41 Metascore
    • 40 Christina Newland
    Venom: The Last Dance
    The film’s inability to find a single tone – comic, cathartic or otherwise – makes it feel like a failure on all fronts, and the constant intrusion of loud, obvious pop needle-drops (and even a full disco-dancing sequence) don’t help.
    • 35 Metascore
    • 40 Christina Newland
    Kraven the Hunter
    I didn’t want this movie to be dull – I would have settled for enjoyably bad – but unfortunately, it doesn’t even manage that.
    • tbd Metascore
    • 80 Christina Newland
    Lollipop
    The fact is that the restrictions and judgements around single motherhood are only compounded by the harsh reality of class and privilege. Surrounded by more bureaucratic red tape than common-sense empathy, Molly often struggles – but through grit and determination, she reaches a foothold for her family that promises a better future.
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