Amy Nicholson

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For 319 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 0.8 points lower than other critics. (0-100 point scale)

Amy Nicholson's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Barry
Lowest review score: 0 3 Geezers!
Score distribution:
  1. Negative: 42 out of 319
319 movie reviews
    • 99 Metascore
    • 100 Amy Nicholson
    Jenkins has made something astonishing: a film with immaculate craft that, at the same time, feels spontaneous, even tentative, as if it could panic that it’s revealed too much and close the curtains.
    • 96 Metascore
    • 67 Amy Nicholson
    At Lonergan's best, he turns the sounds of Patrick's home into its own claustrophobic, percussive sympathy.
    • 94 Metascore
    • 80 Amy Nicholson
    For all the distractions and gags, Inside Out argues a more complex idea: that sometimes, Sadness deserves to steer, and that as we age, our happy memories deepen when tinted a wistful blue.
    • 89 Metascore
    • 100 Amy Nicholson
    Jesse Moss's documentary The Overnighters is a heart-wrencher about the clash between economics and ethics. Its story sounds like the sort of dry news blurb you'd skim over in the Sunday paper but unfolds into an epic tragedy.
    • 88 Metascore
    • 90 Amy Nicholson
    Grand Budapest is Anderson's most mature film, and his most visually witty, too. It's playful without being self-congratulatory, and somehow lush without being cloying.
    • 88 Metascore
    • 75 Amy Nicholson
    This solid genre pic salutes its touchstones.
    • 88 Metascore
    • 100 Amy Nicholson
    Kaufman builds an emotional world we're nervous to enter, one we're already living in.
    • 87 Metascore
    • 90 Amy Nicholson
    [Wiig's] great, but the film's in the pocket of Powley's rib-high corduroys from the second she struts onscreen — and long after she takes them off.
    • 86 Metascore
    • 90 Amy Nicholson
    Lenny Abrahamson's shattering drama Room borrows its fictional plot from the tabloids and strips it of sensationalism.
    • 86 Metascore
    • 90 Amy Nicholson
    Nebraska is the antidote to other family charmers about goofballs in matching sweaters.
    • 84 Metascore
    • 100 Amy Nicholson
    Park Chan-wook’s The Handmaiden is a jaw-dropping, pulse-quickening mash-up.
    • 84 Metascore
    • 100 Amy Nicholson
    Director Rian Johnson's resulting film, a cornfield neo-noir, is the coolest, most-confident sci-fi flick since 2006's "Children of Men."
    • 84 Metascore
    • 91 Amy Nicholson
    Peele is so attuned to the tiny ways race sneaks into conversations that we hear it in every line. Our suspicions are so heightened, we start to second-guess our own senses.
    • 83 Metascore
    • 90 Amy Nicholson
    '71
    [An] excellent, tensely controlled thriller.
    • 83 Metascore
    • 90 Amy Nicholson
    Lord and Miller do great work within constraints, taking pre-made pieces and fashioning them into feats worthy of applause. It's no wonder they made a Lego movie — and it's no wonder it's so good.
    • 83 Metascore
    • 100 Amy Nicholson
    Red Army is a riveting look behind the Iron Curtain.
    • 83 Metascore
    • 70 Amy Nicholson
    The film could do with fewer panty shots of the listless sisters flopped across each other like kittens. Yet it manages to capture the lethargy of watching your life goals winnow into wifely servitude.
    • 82 Metascore
    • 100 Amy Nicholson
    As we switch sympathies from scene to scene, Muylaert forces us to think big about the clash between idealism and acceptance, a philosophical war that spills beyond the walls of this small story into every corner of our own lives.
    • 82 Metascore
    • 91 Amy Nicholson
    The Love Witch, by writer/director Anna Biller, is a feminist film about a character who thinks feminism is bad news. It's delightful.
    • 81 Metascore
    • 83 Amy Nicholson
    Adams’s clear-eyed, open-minded doctor forces us to ask how much we’re willing to communicate.
    • 81 Metascore
    • 100 Amy Nicholson
    Raw
    Ducournau has made a beautiful film about terrible horrors.
    • 81 Metascore
    • 70 Amy Nicholson
    What Spielberg seems to want most from this respectable lark is for audiences to notice the parallels between the 1950s and today.
    • 81 Metascore
    • 70 Amy Nicholson
    Foxcatcher is merely a very, very good character study with acting so fine that it's frustrating it's not in the service of a real, emotional wallop.
    • 81 Metascore
    • 67 Amy Nicholson
    Pablo Larraín's Jackie is an elegy to two slandered traits: self-consciousness and superficiality.
    • 81 Metascore
    • 70 Amy Nicholson
    Goodnight Mommy is a well-crafted cheat with a killer punch.
    • 81 Metascore
    • 70 Amy Nicholson
    Star Wars: The Force Awakens steers the franchise back to its popcorn origins. It's not a Bible; it's a bantamweight blast. And that's just as it should be: a good movie, nothing more.
    • 80 Metascore
    • 70 Amy Nicholson
    When the violence gets unbearable, take comfort in the troop of trainers on the sidelines who prove that, for now, man and beast still make a good team.
    • 80 Metascore
    • 100 Amy Nicholson
    Most docs are lucky to have one wild character. The phenomenal Finders Keepers has two.
    • 79 Metascore
    • 80 Amy Nicholson
    For the small but enthusiastic documentary crowd and the comic's diehard fans, it's a must-see.
    • 79 Metascore
    • 67 Amy Nicholson
    Negga, an Ethiopian-born, Irish-raised Hollywood newcomer, gives an Oscar-worthy performance. She's so still and powerful, she gives the film a depth the script doesn't earn. I can't think of the film without thinking of her gaze, and I can't think of that gaze without admiring the film more than it deserves.

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