Christopher Orr is a senior editor at The Atlantic. He has written on film for The New Republic, LA Weekly, Salon, The New York Sun, and others, and has worked as an editor for numerous publications.
The Day After Tomorrow holds itself to a standard it can't possibly meet… More »
Capturing the horror of the high school years… More »
Film, memory, and Eternal Sunshine of the Spotless Mind… More »
The Coen Brothers' diminishing returns… More »
Mel Gibson sanctifies his perverse obsessions… More »
Dogville's critique of capitalism is impossible to take seriously.… More »
With Kill Bill Volume 2, Tarantino Does a Bad Sergio Leone Impression… More »
The crime show that was too good for NBC… More »
'Hellboy' is an entertaining blend of 'X-Men,' 'Men in Black,' and 'Buffy the Vampire Slayer'… More »
The Big Bounce finds a new way to ruin Elmore Leonard… More »
Past Perfect… More »
Sin City… More »
Bend In The River… More »
Along Went Ben… More »
Why do we have such a hard time accepting that women can be as bad as men?… More »
Once Upon a Time in the West and the end of the Western… More »
John Malkovich is the actor who finally gets Tom Ripley right… More »
Osama is a film chillingly balanced between documentary and fable… More »
'Something's Gotta Give' is hardly a movie--it's more a pitch for a movie… More »
Crap, Actually… More »
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