For 50 reviews, this critic has graded:
  • 52% higher than the average critic
  • 6% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 9.1 points higher than other critics. (0-100 point scale)

Ian Nathan's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Tree of Life
Lowest review score: 40 The Great Gatsby
Score distribution:
  1. Positive: 26 out of 50
  2. Negative: 0 out of 50
50 movie reviews
    • 53 Metascore
    • 60 Ian Nathan
    For all it boasts in ingenious style, this genial American yarn lacks the delicious bile of Jenuet’s early days.
    • 76 Metascore
    • 60 Ian Nathan
    There's no question it's stunningly mounted, and Wasikowska makes a much stronger Jane than Alice, but the romance is overripe and the climax underdone.
    • 75 Metascore
    • 60 Ian Nathan
    With so many films adapted from novels, it's nice to see cinema paying homage to unheralded greats of literature like Sebald. While this one often struggles to do justice to his sense of grandeur and poetry, it'll be manna for fans of the German's work.
    • 73 Metascore
    • 60 Ian Nathan
    For all its chilled intelligence and topical ambition this is a bloodless adaptation, but worth seeing for Hoffman’s deft and ghostly presence.
    • 64 Metascore
    • 60 Ian Nathan
    Del Toro is giving scope to a boyhood lust for mayhem, the multi-million-dollar equivalent of kicking over sandcastles and torturing insects. There is something infectiously juvenile in that.
    • 51 Metascore
    • 60 Ian Nathan
    The Net entertains but is unlikely to hang around on the cerebral hard disk for too long.
    • 55 Metascore
    • 60 Ian Nathan
    Hitchcock for dummies: brisk, jolly, well-played but oversimplified.
    • 59 Metascore
    • 60 Ian Nathan
    Lavish and sporadically powerful, Jolie's POW biopic may have just enough gravity to entice the Academy, but struggles to bring truth to an unbelievable truth.
    • 65 Metascore
    • 60 Ian Nathan
    Buffeted by a lack of suspense, threadbare characters, and a very poor script, the stunning visuals, gloopy madness, and sterling Fassbenderiness can't prevent Prometheus feeling like Alien's poor relation.
    • 58 Metascore
    • 60 Ian Nathan
    An uneven mix of impressively executed, violent clichés about good ol' boys defending the American right to flout the law.
    • 64 Metascore
    • 60 Ian Nathan
    A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.
    • 54 Metascore
    • 60 Ian Nathan
    Weightless, but not without its enchantments, this is Woody Allen coasting. But where better to coast than the loveliest coast of all?
    • 48 Metascore
    • 40 Ian Nathan
    Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.
    • 61 Metascore
    • 40 Ian Nathan
    As earnestly as they have tried to continue the formerly excellent spy series, everything Gilroy and crew concoct only serves to mock the excellence and passion with which Greengrass delivered his films.
    • 65 Metascore
    • 40 Ian Nathan
    Certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit.
    • 39 Metascore
    • 40 Ian Nathan
    The CG does its part of the bargain, but even more than the brighter, breezier original this is a pale imitation of Potter.
    • 50 Metascore
    • 40 Ian Nathan
    With Eastern Promises and Dirty Pretty Things, screenwriter Steven Knight has proved his ear for London's darker rhythms. Here, though, there's little to raise the pulse.
    • 36 Metascore
    • 40 Ian Nathan
    However exotic the locations and starry the stars, there’s no escaping this is The Devil’s Advocate of online gambling. Fold.
    • 51 Metascore
    • 40 Ian Nathan
    An uneven debut from John Slattery that nonetheless shows flashes of flair and a jet-black sense of humour.
    • 55 Metascore
    • 40 Ian Nathan
    Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

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