For 20 reviews, this critic has graded:
  • 40% higher than the average critic
  • 15% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 4.1 points lower than other critics. (0-100 point scale)

Adam Nayman's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 91 Fort Tilden
Lowest review score: 30 Bad Johnson
Score distribution:
  1. Positive: 6 out of 20
  2. Negative: 1 out of 20
20 movie reviews
    • 71 Metascore
    • 91 Adam Nayman
    For all its exquisite theater-of-cruelty viciousness, Fort Tilden is finally a work of empathy about people whose own supplies are running on empty.
    • 75 Metascore
    • 83 Adam Nayman
    Amid all the images of celebration and joyful physical abandon—including a showcase solo dance performance that functions as a kind of climax—the most lingering images are the ones depicting daily routines.
    • 79 Metascore
    • 83 Adam Nayman
    His film is vivid and yet elusive. He shoots first so that we might ask questions later.
    • 87 Metascore
    • 80 Adam Nayman
    Level Five doesn’t achieve the poetic heights of Sans Soleil, but that might be because its project is more desultory; where the earlier work merely hints at the difficulty of looking at history without a filter, this sister film all but gives up the ghost.
    • 48 Metascore
    • 70 Adam Nayman
    When veterans as talented as Dance and Griffiths decide to chew the scenery, they do so with their chompers bared.
    • 51 Metascore
    • 60 Adam Nayman
    [An] occasionally awkward but finally light-footed movie.
    • 71 Metascore
    • 60 Adam Nayman
    What’s affecting about Hanna Ranch is its suggestion that Kirk Hanna was the real deal in every way possible, a man out of time, simultaneously inspired and fatally trapped by his past.
    • 69 Metascore
    • 60 Adam Nayman
    What keeps The Amazing Catfish from greatness despite the evident skill at every level of its production—the editing is sharp, and the actors are all excellent, especially the children—is the sense that Sainte-Luce is luxuriating in quirkiness for its own sake.
    • 29 Metascore
    • 50 Adam Nayman
    Burning Blue expends most of its energies mitigating against potential flaws, with very little left over to push it over the top and into the realm of quality independent cinema.
    • 63 Metascore
    • 50 Adam Nayman
    While Rob The Mob doesn’t ultimately hold together, it isn’t for a lack of trying by the performers or the filmmakers—like Tommy and Rosie, it’s doing its damnedest.
    • 34 Metascore
    • 50 Adam Nayman
    Competently shot and edited, and imbued with a gentle sense of affection for its setting, Angels In Stardust doesn’t ultimately insult its audience’s intelligence. But it doesn’t really engage it, either.
    • 48 Metascore
    • 40 Adam Nayman
    This film about the loneliness of the young middle-distance runner drops so many heavy obstacles in his way, with such grueling regularity, that it’s like he’s practicing to be a hurdler instead.
    • 44 Metascore
    • 40 Adam Nayman
    There’s a difference between elemental melodrama and superficial clichés, and gorgeous cinematography and period production design can only delay this recognizance for so long—and certainly not for two grueling hours.
    • 48 Metascore
    • 40 Adam Nayman
    Fatally, for a film about damaged people methodically working through their problems—with themselves and each other—it gets less interesting the more it reveals about its characters.
    • 38 Metascore
    • 40 Adam Nayman
    In the absence of narrative urgency or fresh storytelling devices, Grand Départ lives or dies with Marmaï’s performance, but like everything else around him, he’s merely adequate.
    • 57 Metascore
    • 40 Adam Nayman
    Bright Days Ahead means to be a casual, charming movie about a woman taking charge of her life, but its lightness gets unbearable; the film is so featherweight that it eventually blows away.
    • 25 Metascore
    • 30 Adam Nayman
    Instead of trying for something truly outrageous or surreal—qualities that should flow naturally from the script’s insane premise—writer Jeff Tetreault and director Huck Botko opt for rom-com blandness from beginning to end, leaning hard on generic conventions even as they pretend to satirize them.

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