Amy Nicholson

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For 328 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1 point lower than other critics. (0-100 point scale)

Amy Nicholson's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Victoria
Lowest review score: 0 3 Geezers!
Score distribution:
  1. Negative: 42 out of 328
328 movie reviews
    • 58 Metascore
    • 60 Amy Nicholson
    Tokyo Tribe is Sono cackling hysterically while smashing a keytar. Sure, there are a few sour notes, but he's made a great blast of noise.
    • 45 Metascore
    • 60 Amy Nicholson
    Joseph Gordon-Levitt dominates this slight, worth-a-watch dramedy.
    • 75 Metascore
    • 60 Amy Nicholson
    Like Brooke's dream business, a café/convenience store/hair salon, Mistress America is a mishmash of ideas — fortunately, Kirke gives a fantastic performance that quietly grounds the film.
    • 66 Metascore
    • 60 Amy Nicholson
    [Whedon] wants to give us everything, and that he fits it all in is its own kind of feat. Age of Ultron is a middling film, yet it's so heavy with his sweat that it never feels like a lazy cash-in — which for a preordained summer megahit is an accomplishment.
    • 82 Metascore
    • 60 Amy Nicholson
    Villeneuve's proven he's got a strong punch. The trouble is, he barely aims.
    • 63 Metascore
    • 60 Amy Nicholson
    By poking fun at the cliches, director Gluck thinks he can turn an inevitability into an in-joke. Eh, it'll do.
    • 54 Metascore
    • 60 Amy Nicholson
    Demme's film plays out like a catnapping afternoon dream. We recognize the world, yet the logic is screwy.
    • 64 Metascore
    • 60 Amy Nicholson
    Headland's film might have been more engaging if it were about its supporting characters.
    • 55 Metascore
    • 60 Amy Nicholson
    If only Shepard's movie lived up to his leading man. It's merely a frame for a character portrait, with Shepard's camera screwing our eyes to Law's performance and pasting in supporting actors and situations for no larger purpose than to see his reaction to them.
    • 68 Metascore
    • 60 Amy Nicholson
    For all its empathy and equilibrium, The East has nowhere to go after the script backs itself into a corner.
    • 52 Metascore
    • 60 Amy Nicholson
    Every bit of it is more advanced: The actors are better, the plot is tighter, the special effects sleeker, the messages more heartfelt. Yet it lacks Verhoeven's bloody, biting scream.
    • 64 Metascore
    • 60 Amy Nicholson
    It's dumb and consistently funny.
    • 60 Metascore
    • 60 Amy Nicholson
    It doesn't entirely engage, in part because it's so determined to correct the story that it can't let us explore it ourselves.
    • 63 Metascore
    • 60 Amy Nicholson
    Batkid Begins wants audiences to celebrate the everyday heroes who donated their time and energy to Miles's dream. Absolutely, we should. Still, take a minute to ask what the disproportionate investment and interest in Batkid's adventure says about our own maturity — and how the internet allows us to feel like champions for rallying for one afternoon, while overlooking the years of unglamorous doctor appointments before it.
    • 78 Metascore
    • 60 Amy Nicholson
    It's a staggering film, but not a brilliant one — a superior version would have played more with the gulf between our senses and theirs.
    • 38 Metascore
    • 60 Amy Nicholson
    Director Douglas McGrath's empathy rescues it from the brink of disaster porn - it's so good-hearted and optimistic that a swath of stressed out moms will feel the flick speaks directly to them, which it does.
    • 63 Metascore
    • 60 Amy Nicholson
    Payne's book is more epic and shameless than Gustin Nash's tidy adaptation.
    • 42 Metascore
    • 60 Amy Nicholson
    Won't Back Down makes grand drama of bureaucracy, positioning Gyllenhaal as the knight slaying 400 pages of government paperwork in order to wrest control of her daughter's elementary school. It's rousing - if not thrilling - stuff.
    • 68 Metascore
    • 60 Amy Nicholson
    Land Ho! feints toward pathos and perversity, only to decide that it's better off giving us abridged, postcard emotions.
    • 48 Metascore
    • 60 Amy Nicholson
    Like us, the deft and merciless director Daisy von Scherler Mayer ("Party Girl") sides with the girls, and to stack the deck she's hired five tremendous actresses.
    • 33 Metascore
    • 60 Amy Nicholson
    A good romance can make us endure an implausible plot as long as the leads have heat. Luke and Sophia's connection feels true. Who cares about the mechanics? By the time The Longest Ride runs right off a cliff, we're already strapped in to the passenger seat. Give in and enjoy the plunge.
    • 46 Metascore
    • 60 Amy Nicholson
    The film strips Fifty Shades of Grey to its essentials: a confident man, an awkward girl, and a red room rimmed with leather handcuffs. From there, Taylor-Johnson rebuilds. She constructs an erotic dramedy that takes its romance seriously even as it admits that Christian Grey's very existence is absurd.
    • 48 Metascore
    • 60 Amy Nicholson
    The confident, female-driven sensuality of Kiss of the Damned anchors this handsome nonsense.
    • 44 Metascore
    • 60 Amy Nicholson
    Almost as bad as we want it to be, which is to say, it straddles the line between campy and legit without winning over either audience.
    • 50 Metascore
    • 60 Amy Nicholson
    These ladies - even at their weakest - carry themselves with the confidence of winners, and we cling to their strength like a life raft.
    • 69 Metascore
    • 60 Amy Nicholson
    The bad news is that if you haven't seen "Thor," "Captain America" and "Iron Man 2" - that's six hours and three minutes of homework - The Avengers won't make sense. The good news is if you're a human under the age of 45, you probably already have.
    • 44 Metascore
    • 60 Amy Nicholson
    Neither disposable nor a long-lost masterpiece, she might not be loved by all the boys, but she's still worth a Friday night date.
    • 47 Metascore
    • 60 Amy Nicholson
    Howard is great at capturing the timbre of the ship, the creaks and snaps and the whir of the hemp lines, and the sonar clicks of the whales strategizing below. All his sound and fury has a befuddling purpose. His emotional climax is about, well, disaster insurance.
    • 27 Metascore
    • 60 Amy Nicholson
    The hard part will be convincing audiences to shake off their Depp fatigue and embrace a film that's daffy, dated, and precisely as intended.
    • 53 Metascore
    • 60 Amy Nicholson
    The script is ridiculous, the bodies are great and the film skates so long on the line between knowingly bad and bad that by the time the body count hits 100 and the booby count hits 1000, we've lost track of the difference.

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