Christy Lemire

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RogerEbert.com
For 511 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 7.1 points lower than other critics. (0-100 point scale)

Christy Lemire's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Poor Things
Lowest review score: 0 Cosmic Sin
Score distribution:
  1. Positive: 275 out of 511
  2. Mixed: 119 out of 511
  3. Negative: 117 out of 511
511 movie reviews
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    • 30 Metascore
    • 25 Christy Lemire
    The House
    In theory, these actors should be able to just show up, be themselves, tap into their formidable improvisational abilities and let the laughs flow freely. In reality, though, movies require scripts. They require actual characters and dialogue and narratives that evolve in ways that are logical, or at least engaging.
    • 86 Metascore
    • 88 Christy Lemire
    The Big Sick
    Apatow also has a knack for spotting up-and-coming talent and using his considerable influence to help foster it on the biggest stage and under the brightest lights. He’s done this with Lena Dunham (“Girls”) and Amy Schumer (“Trainwreck”), and he’s done it again with Nanjiani.
    • 51 Metascore
    • 50 Christy Lemire
    Rough Night
    Rough Night starts out buoyantly, and it and features some wonderfully weird moments scattered throughout. But those scenes never truly gel with the movie’s eventual life-or-death stakes.
    • 61 Metascore
    • 50 Christy Lemire
    The Hero
    Sam Elliott is Sam Elliott as Sam Elliott in The Hero, a sentimental and sporadically effective celebration of the veteran character actor.
    • 43 Metascore
    • 25 Christy Lemire
    Vincent N Roxxy
    Vincent N Roxxy is a nasty little piece of B-movie trash that lacks both the verve to grab you as a guilty pleasure and the artistry to be taken seriously as a dramatic thriller.
    • 70 Metascore
    • 75 Christy Lemire
    Berlin Syndrome
    Shortland has essentially crafted a claustrophobic two-hander with only occasional forays into the outside world.
    • 39 Metascore
    • 25 Christy Lemire
    Diary of a Wimpy Kid: The Long Haul
    Jettisons everything that’s honest and worthwhile about the books in favor of hackneyed misadventures and gross-out scatological humor.
    • 57 Metascore
    • 75 Christy Lemire
    Lowriders
    Lowriders may spell too much out with obvious dialogue, and it may veer a bit too easily toward melodrama. But there’s an earnestness and a fundamental truth to this familial saga—as well as an appealing, low-budget scrappiness—that consistently make it hum.
    • 45 Metascore
    • 50 Christy Lemire
    Snatched
    It’s a mismatched-buddy comedy. It’s a fish-out-of-water comedy. It’s a raucous girl-power comedy.
    • 47 Metascore
    • 50 Christy Lemire
    3 Generations
    Takes on the topic of gender dysphoria with a talented cast but not much to say.
    • 62 Metascore
    • 75 Christy Lemire
    Sleight
    It’s an auspicious debut from this up-and-coming filmmaker, who once worked as a receptionist for J.J. Abrams’ production company, Bad Robot.
    • 45 Metascore
    • 63 Christy Lemire
    Unforgettable
    There’s trash, and then there’s good trash. Unforgettable falls into the latter category. Slick, glossy and radiating juicy villainy, it knows exactly what kind of movie it is and goes for it with giddy abandon.
    • 75 Metascore
    • 75 Christy Lemire
    Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    In Richard Gere’s deft, veteran hands, Norman Oppenheimer is consistently, completely fascinating. You may not be able to root for him, but you can’t help but feel for him.
    • 50 Metascore
    • 63 Christy Lemire
    Going in Style
    The comedy is bigger, the supporting players are wackier and the antics move to the bouncy beat of an incessantly perky soundtrack.
    • 52 Metascore
    • 75 Christy Lemire
    Carrie Pilby
    Johnson keeps it all moving at a decent clip, though, with the help of Michael Penn’s score. And she photographs Powley and her mesmerizing blue eyes so lovingly that it’s hard not to find her adorable—even when she’s being awful.
    • 67 Metascore
    • 50 Christy Lemire
    T2 Trainspotting
    If you long for the gritty charms of mid-‘90s indie cinema in general and “Trainspotting” specifically, T2 Trainspotting gives you exactly that. And by “exactly,” we really do mean “exactly.”
    • 61 Metascore
    • 63 Christy Lemire
    The Sense of an Ending
    Not to sound derisive, but there’s definitely a target audience here. What they’ll get will be mildly satisfying: a film that’s well-acted but tastefully restrained to a fault, with gentle humor about aging and a central mystery that isn’t all that engaging.
    • 81 Metascore
    • 88 Christy Lemire
    Raw
    It may not sound like it on the surface, but Raw is absolutely a celebration of female power — of realizing who you are, what you want and how to go after it, albeit with brutally bloody results.
    • 67 Metascore
    • 88 Christy Lemire
    As You Are
    At only 24, Joris-Peyrafitte shows confidence and talent beyond his years, with an artful eye for imagery and a truthful ear for dialogue.
    • 64 Metascore
    • 63 Christy Lemire
    XX
    XX feels unusually frustrating in its inconsistency, given its inspired premise.
    • 65 Metascore
    • 63 Christy Lemire
    A United Kingdom
    For a movie about two people who loved each other so deeply, they risked losing everything to be together—their families, homes, even their countries — A United Kingdom plays it frustratingly safe.
    • 33 Metascore
    • 38 Christy Lemire
    The Space Between Us
    The whole thing ultimately collapses in a heap of unintentionally hilarious melodrama.
    • 63 Metascore
    • 75 Christy Lemire
    Split
    Split is more lean and taut in its narrative and pace than we’ve seen from Shyamalan lately.
    • 27 Metascore
    • 25 Christy Lemire
    The Book of Love
    It isn’t creepy, but it isn’t terribly plausible, either. It’s just another movie in which a 30ish white dude finds purpose and learns how to live life again through the love and support of a younger woman who’s more of a concept than a real person.
    • 78 Metascore
    • 63 Christy Lemire
    I, Daniel Blake
    With I, Daniel Blake, Loach is using the medium for one of its most crucial purposes: to shine a light on injustices he sees all around him, as well as on our capacity for human decency.
    • 39 Metascore
    • 38 Christy Lemire
    Why Him?
    It goes soft and nice and wants us to care about these characters who barely resemble human beings. After all, it’s Christmas. But everyone involved here should have asked Santa for a stronger script.
    • 61 Metascore
    • 75 Christy Lemire
    Two Lovers and a Bear
    Fair warning: If a romance about beautiful, miserable people is your least favorite indie subgenre, this may not be your cup of tea.
    • 81 Metascore
    • 88 Christy Lemire
    Moana
    Moana would have been enormously entertaining regardless of when it came out, but its arrival at this particular moment in history gives it an added sense of significance—as well as inspiration.
    • 77 Metascore
    • 88 Christy Lemire
    The Edge of Seventeen
    The Edge of Seventeen is a strong successor to Hughes’ legacy with its mix of biting humor and bittersweet heart.
    • 25 Metascore
    • 25 Christy Lemire
    My Dead Boyfriend
    A mixture of misplaced gallows humor, wildly over-the-top caricatures and a gimmicky use of animation combine to make My Dead Boyfriend one of the year’s more uncomfortable movie-going experiences.
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