Christopher Orr

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The Atlantic
For 42 reviews, this critic has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 10.5 points higher than other critics. (0-100 point scale)

Christopher Orr's Scores

  • Movies
  • TV
Average review score: 76
Highest review score: 99 Roma
Lowest review score: 0 Transformers: The Last Knight
Score distribution:
  1. Positive: 34 out of 42
  2. Mixed: 5 out of 42
  3. Negative: 3 out of 42
42 movie reviews
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    • 84 Metascore
    • 70 Christopher Orr
    Star Wars: Episode VIII - The Last Jedi
    Does the movie, like its predecessor, rely on familiar tropes a bit more than it should? Yes, I think it does. Is it, at a solid two-and-a-half hours, considerably longer than it needed to be? Yes, that too. But it’s still a pretty damn good movie, arguably the best the franchise has offered since Empire.
    • 44 Metascore
    • 70 Christopher Orr
    Kingsman: The Golden Circle
    The movie is too long, too violent, too silly—too everything. Yet for those who enjoyed the original Kingsman, it is a more than adequate second act. To put it another way: first time satire, second time farce.
    • 84 Metascore
    • 68 Christopher Orr
    You Were Never Really Here
    You Were Never Really Here feels remote and somnambulant—a bad dream viewers know will end after 90 minutes, never to disquiet them again. Its emotional stakes are inflated so overzealously that they scarcely register as stakes at all.
    • 46 Metascore
    • 67 Christopher Orr
    Life of the Party
    While McCarthy does what she can with the material provided her, it’s not nearly enough to save the movie. As a result, Life of the Party doesn’t live up to either of the nouns in its title.
    • 61 Metascore
    • 58 Christopher Orr
    Vice
    With The Big Short, McKay threaded a needle by managing to be jokey while still serious, and angry while still entertaining. With Vice, he fails in both directions.
    • 52 Metascore
    • 55 Christopher Orr
    Murder on the Orient Express
    Branagh’s retelling of the classic Agatha Christie tale is visually sumptuous yet otherwise inert, a series of what are essentially cameos by performers far too gifted to waste their time like this.
    • 79 Metascore
    • 45 Christopher Orr
    Annihilation
    Though Garland’s film is decidedly creepy and often ravishing to look at, it’s hard to shake the sense that, beneath its highbrow patina, it is an intellectual muddle.
    • 23 Metascore
    • 45 Christopher Orr
    The Snowman
    Ultimately, The Snowman is that most frustrating of film types: You can picture the good movie that it might have been; it’s just not the movie that’s up on the screen. For a while, it sinks into your bones. And then it just sinks.
    • 69 Metascore
    • 45 Christopher Orr
    It
    A solid but relatively conventional horror movie, above average but overlong
    • 77 Metascore
    • 36 Christopher Orr
    Detroit
    What begins as a shocking portrait of police misconduct gradually becomes a test of audience endurance.
    • 31 Metascore
    • 20 Christopher Orr
    Fifty Shades Freed
    The good news—and, yes, we are grading on a curve so steep that it’s essentially a vertical drop—is that Fifty Shades Freed is marginally less retrograde and offensive than Fifty Shades Darker. The bad news is that it is even more idiotic, which is in its way a remarkable achievement.
    • 27 Metascore
    • 0 Christopher Orr
    Transformers: The Last Knight
    It all culminates, of course, in a cacophonous and interminable final battle involving far too many participants to possibly keep straight.
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