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Chris Feil

Tomatometer-approved critic

Reviews

Movies TV Shows
Saturday Night (2024) 77% EDIT “Though far from the countercultural experiment it tries to convince us the show initially was, Saturday Night returns Reitman to comedic good graces–even if this broad scale limits him from achieving the precise characterization of his best work.” – The Daily Beast Oct 28, 2025 Full Review The Deb (2024) 75% EDIT “Wilson is often too quick to sacrifice consistency in the movie’s messaging all for the sake of cheap jokes that seldom land.” – The Daily Beast Oct 28, 2025 Full Review Misericordia (2024) 94% EDIT “Coming from provocateur Alain Guiraudie, Misericordia is a must-see comedic thriller that skewers small town life and features a scene destined to give viewers equal shock and button-pushing delight.” – The Daily Beast Oct 28, 2025 Full Review Roofman (2025) 87% EDIT “While Roofman is a tonal pivot away from darker material that still doesn’t betray any of the director’s sensibilities. This is what a Cianfrance crowdpleaser looks like, bittersweet but never punishing.” – The Daily Beast Oct 28, 2025 Full Review Couture (2025) 62% EDIT “Considering Jolie is so emotionally exposed throughout, it is odd that the film doesn’t ask nearly as much of its other actresses, nor does it have as much curiosity for the inner life of the women they inhabit.” – The Daily Beast Oct 28, 2025 Full Review Kneecap (2024) 96% EDIT “What makes Kneecap such a satisfying entry within this musical stable -- along with the absorbing verve and rage of its musicality -- is the ease with which it includes many facets of sociopolitical nuance. ” – The Daily Beast Jun 5, 2025 Full Review The Fabulous Four (2024) 28% EDIT “The Fabulous Four knows exactly the movie it is, and it’s easy to really enjoy yourself. Even so, you want it to be a little more.” – The Daily Beast Jun 5, 2025 Full Review Faye (2024) 89% EDIT “In dodging the audience’s most obvious questions, the film only creates more. At this point in her career and diagnosis, it’s understandable that Dunaway would not wish to stoke the embers of past fires, but this leaves Faye feeling remarkably incomplete.” – The Daily Beast Jun 5, 2025 Full Review Skinamarink (2022) 73% EDIT “The film aims for the darker recesses of our subconscious and catches us where we are most vulnerable in ways that few horror films do.” – The Daily Beast Jan 12, 2023 Full Review Close (2022) 91% EDIT “If not as exploitative as his more outright dubious debut Girl, Dhont’s latest abandons its themes for the sake of its manipulative impulses, gesturing towards a statement but without ever finding it.” – The Daily Beast Dec 30, 2022 Full Review The Son (2022) 29% EDIT “Whereas Zeller was able in The Father to empathically place the audience into the experience of dementia with a few structural tricks, The Son just feels like Zeller is rubber-necking.” – The Daily Beast Dec 30, 2022 Full Review The Whale (2022) 64% EDIT “Rather than creating authentic empathy from the audience, the film is more interested in making a spectacle of Charlie’s suffering and his body.” – The Daily Beast Dec 30, 2022 Full Review The Inspection (2022) 88% EDIT “Union’s work here is one of painful subtlety, one that doesn’t make easy excuses for her cruelty nor turns her into a pure monster.” – The Daily Beast Dec 16, 2022 Full Review Funny Pages (2022) 82% EDIT “The overall effect that Funny Pages’ cast brings to Kline’s grimy vision is that seemingly anything can happen suddenly in its madcap mania.” – The Daily Beast Dec 16, 2022 Full Review Lightyear (2022) 74% EDIT “As Lightyear stumbles to make a compelling story on its own, it’s difficult to not get caught up in the incongruities.” – The Daily Beast Dec 16, 2022 Full Review Brian and Charles (2022) 85% EDIT “A modest-scale antidote to the bombast and bloat of summer entertainment spectacles, Brian and Charles brings more down-to-earth delights to the summer moviegoing season.” – The Daily Beast Dec 16, 2022 Full Review Mrs. Harris Goes to Paris (2022) 94% EDIT “It takes a lot of sophistication to keep a film like this from becoming cloying. Mrs. Harris Goes to Paris is the champagne of nicecore.” – Gawker Dec 16, 2022 Full Review Scream (2022) 76% EDIT “[T}his Scream is the burnout C-student younger sibling of a former valedictorian.” – Gawker Dec 16, 2022 Full Review Aline (2021) 56% EDIT “Aline is the Goldschläger of musical biopics: unappetizing and decadent in all the wrong ways, but too absurd to not sample once.” – Gawker Dec 16, 2022 Full Review Resurrection (2022) 82% EDIT “Rebecca Hall’s work in Resurrection is jaw-dropping, the latest in a series of stunning performances...” – The Daily Beast Aug 5, 2022 Full Review We're All Going to the World's Fair (2021) 91% EDIT “We’re All Going to the World’s Fair tackles the unsettling, isolating loss of reality and possible descent into madness for a generation that spends their entire lives online.” – The Daily Beast Apr 22, 2022 Full Review The Courier (2020) 85% C- EDIT “Conceived without the benefit of imagination, The Courier is a microwaved and nutrient-free copy of similar Cold War spy dramas, tinny with the shine of its shrinkwrap packaging.” – Filmmixtape Mar 18, 2021 Full Review Boogie (2021) 41% C- EDIT “Even with all the context it provides its protagonist, the film still reduces him to an average teenage asshole. It may be an inversion of the usual boring heart-of-gold bland sports movie hero, but it's still bland.” – Filmmixtape Mar 4, 2021 Full Review Raya and the Last Dragon (2021) 93% B- EDIT “The wisdom of [the film] is that it doesn't lean in too hard on its most familiar elements, allowing its more unique thematic terrain and smartly textured worldbuilding to hold the spotlight.” – Filmmixtape Mar 3, 2021 Full Review The World to Come (2020) 74% A- EDIT “The World to Come ignites something thrilling in its brief runtime.” – Filmmixtape Feb 10, 2021 Full Review
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