Christopher Gray

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Slant Magazine
For 127 reviews, this critic has graded:
  • 25% higher than the average critic
  • 2% same as the average critic
  • 73% lower than the average critic
On average, this critic grades 4.6 points lower than other critics. (0-100 point scale)

Christopher Gray's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Atlantics
Lowest review score: 0 4th Man Out
Score distribution:
  1. Positive: 79 out of 127
  2. Mixed: 34 out of 127
  3. Negative: 14 out of 127
127 movie reviews
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    • 86 Metascore
    • 75 Christopher Gray
    An Elephant Sitting Still
    The film’s gritty, mundane agonies come to feel like a series of moral tests with genuinely unpredictable outcomes.
    • 80 Metascore
    • 75 Christopher Gray
    Peter and the Farm
    Peter and the Farm is a warts-and-all portrait that asserts its subject's sense of purpose even as it seems to slip out of his grasp.
    • 76 Metascore
    • 75 Christopher Gray
    The Iron Ministry
    Though J.P. Sniadecki doesn't elucidate any broad structural motive, his film gradually adopts an engrossing rhythm among its clatter of steel and ambient chatter.
    • 75 Metascore
    • 75 Christopher Gray
    Undine
    The film questions the fixed nature of human behavior in a world whose borders are constantly shifting.
    • 70 Metascore
    • 75 Christopher Gray
    All These Sleepless Nights
    Director Michal Marczak's film finds a unique vitality in its densely constructed environment.
    • 55 Metascore
    • 75 Christopher Gray
    Money Monster
    Jodie Foster manages the interlocking tones of outrage and low humor with an unfailing rhythm and an engagingly casual cynicism.
    • 70 Metascore
    • 75 Christopher Gray
    Berlin Syndrome
    Until its hasty climax, Cate Shortland's film is rewardingly patient and psychologically cogent.
    • 76 Metascore
    • 75 Christopher Gray
    Spettacolo
    Though some of Spettacolo's tension is superficial, the stuff of any let’s-put-on-a-show narrative, its latent anxieties are myriad and profoundly resonant.
    • 80 Metascore
    • 75 Christopher Gray
    Arabian Nights: Volume 3, The Enchanted One
    Miguel Gomes combats austerity with expansiveness, leavened by doses of frivolity and scatology.
    • 86 Metascore
    • 75 Christopher Gray
    City of Ghosts
    The director’s apparently frank and intimate relationships with the RBSS’s heroic journalists help sustain City of Ghosts‘s undeniable urgency, which culminates in a final image of appropriate, irresolvable anguish.
    • 85 Metascore
    • 75 Christopher Gray
    My Life as a Zucchini
    The film circumvents bleakness with a thoroughgoing commitment to understanding and intimacy.
    • 56 Metascore
    • 75 Christopher Gray
    Our Time
    The film elides politics in order to earnestly consider whether love is necessarily an act of possession.
    • 85 Metascore
    • 75 Christopher Gray
    Hale County This Morning, This Evening
    Hale County dwells on the beauty of the everyday as it recognizes the fragility of individual lives.
    • 60 Metascore
    • 63 Christopher Gray
    The Exception
    David Leveaux's film cannily incorporates elements of spycraft and sheer trash into a familiar formula.
    • 77 Metascore
    • 63 Christopher Gray
    Voyage of Time: The IMAX Experience
    The film captures our world as systematic yet miraculous, evolving toward more elaborate and resilient forms.
    • 82 Metascore
    • 63 Christopher Gray
    What Do We See When We Look at the Sky?
    The film is an offbeat epic informed by a reverence for the past and a delicate wariness toward the future.
    • 54 Metascore
    • 63 Christopher Gray
    Ricki and the Flash
    Director Jonathan Demme grasps the well of feeling of Diablo Cody's script and eventually harnesses it in his own image.
    • 82 Metascore
    • 63 Christopher Gray
    Angels Are Made of Light
    The film is an intimate portrait of a nation terminally anxious about who will see fit to rule it next.
    • 76 Metascore
    • 63 Christopher Gray
    The Kingmaker
    The film confirms that the ruthless knack of the wealthy and powerful to remain so is a universal impulse.
    • 76 Metascore
    • 63 Christopher Gray
    The Lovers
    Azazel Jacobs’s film takes some shrewd steps to update the comedy of remarriage for the age of the smartphone.
    • 76 Metascore
    • 63 Christopher Gray
    Midnight Special
    It starts off as a dynamic parable about faith before wilting into a glum and rather disingenuous paean to the family.
    • 76 Metascore
    • 63 Christopher Gray
    Hail Satan?
    The documentary shrewdly illustrates how media savvy can turn a fledgling protest into an international cause célèbre.
    • 66 Metascore
    • 63 Christopher Gray
    God Knows Where I Am
    Though the film excels at subjectivity and interiority, it tends to falter in conveying more rudimentary information.
    • 76 Metascore
    • 63 Christopher Gray
    Cartel Land
    A stunning work of war reportage nestled within a creaky study of ideological purity.
    • 65 Metascore
    • 63 Christopher Gray
    The Hallow
    The film never really digs into its suggested themes of gentrification, domestic turmoil, or backwoods folklore, but most of its effectiveness stems from a kitchen-sink approach to genre clichés.
    • 53 Metascore
    • 63 Christopher Gray
    Billy Lynn's Long Halftime Walk
    It does astounding work animating the mind of its young soldier, but it runs into technical difficulties whenever it tries to grasp the bigger picture.
    • 34 Metascore
    • 63 Christopher Gray
    Point Break
    In its philosophical and criminal investigations (largely imported from Kathryn Bigelow's original), the film moves in dozens of illogical directions, but not without achieving a patina of earnest credibility.
    • 56 Metascore
    • 63 Christopher Gray
    Combat Obscura
    The portrait it paints of its Marines is appropriately discordant, redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.
    • 31 Metascore
    • 63 Christopher Gray
    Fifty Shades Freed
    James Foley’s film suggests that any semblance of capitulation on Christian’s part is a win for Ana and women at large, even if that momentary triumph leads to a further sacrifice of Ana’s independence.
    • 75 Metascore
    • 63 Christopher Gray
    Our Little Sister
    The film's reserve softens some of its more piquant observations about tradition and mortality.
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