Michael Nordine
Select another critic »
For 57 reviews, this critic has graded:
  • 38% higher than the average critic
  • 14% same as the average critic
  • 48% lower than the average critic
On average, this critic grades 10 points lower than other critics. (0-100 point scale)

Michael Nordine's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 90 Enemy
Lowest review score: 10 108 Stitches
Score distribution:
  1. Positive: 17 out of 57
  2. Negative: 13 out of 57
57 movie reviews
    • 60 Metascore
    • 90 Michael Nordine
    Denis Villeneuve's shared dream of a film takes the simple premise of a man glimpsing his doppelganger while watching a movie and mines every bit of tension and oddity from it — there's hardly a scene that doesn't exude menace.
    • 87 Metascore
    • 88 Michael Nordine
    Manages to be intimate and impersonal at the same time, a trait constantly reinforced by his portrayal of not only Ceausescu but the populace he led, represented, and controlled for nearly three decades.
    • 57 Metascore
    • 75 Michael Nordine
    Julia Leigh's take on the fairy tale is a study in detachment and unspoken dissatisfaction, traits that imbue the proceedings with a barely-contained sexual energy lurking beneath a thin veneer of calm.
    • 60 Metascore
    • 75 Michael Nordine
    Fightville's most worthwhile material tends to lie in the space between what its subjects say and what we know to be true.
    • 62 Metascore
    • 75 Michael Nordine
    There's something to be said about a two-and-a-half-hour war epic that manages to make each of its countless decapitation scenes feel earned, even called for, in the moment.
    • 54 Metascore
    • 70 Michael Nordine
    Though far from perfect, Toad Road is also the first unique horror film to come along in years.
    • 49 Metascore
    • 70 Michael Nordine
    Enemies Closer captures the feel of action flicks of yore -- unsurprising, given that some of them were directed by Hyams himself -- in a way that only limited-release and straight-to-video titles seem allowed to these days (aside from the latest Riddick, that is).
    • 79 Metascore
    • 70 Michael Nordine
    Lapid is so unconcerned with crafting a conventional crime drama that merely titling his film Policeman reads as a minor subversion, a way of defining the narrative in relation to a genre it hardly fits into.
    • 75 Metascore
    • 70 Michael Nordine
    That Battered Bastards is practically a hagiography doesn't negate the fact that it has more anti-establishment joie de vivre in any given scene than most talking-head docs about previously unheralded mensches contain in their entire run times.
    • 50 Metascore
    • 70 Michael Nordine
    It's better than the first.
    • 67 Metascore
    • 70 Michael Nordine
    [Michelle Monaghan's] at her best as Army medic/staff sergeant Maggie Swann in writer-director Claudia Myers's Fort Bliss.
    • 43 Metascore
    • 63 Michael Nordine
    The goings-on can rarely be called truly compelling, even if they're almost always generally pleasant.
    • 57 Metascore
    • 63 Michael Nordine
    The film works because what it documents is less a transformation and more a return to a former, more natural state for its troubled protagonist.
    • 80 Metascore
    • 63 Michael Nordine
    I Wish has a tough time balancing the heartfelt with the saccharine and too often feels slight.
    • 51 Metascore
    • 60 Michael Nordine
    Has a lived-in, almost documentary-like realism to it, but as drama it's occasionally inert.
    • 70 Metascore
    • 60 Michael Nordine
    Schlesinger seems in such a rush to guide us to the end unscathed that she sometimes loses sight of the small details that make this journey unique.
    • 45 Metascore
    • 60 Michael Nordine
    Though it takes a long while for the many moving parts to click into place, the final minutes redeem not only a few characters but also Blood Ties itself -- not enough to make up for prior transgressions, perhaps, but enough to leave a favorable last impression.
    • 52 Metascore
    • 60 Michael Nordine
    It's refreshing that director Jim Taihuttu is more interested in the humdrum goings on of those who split their time between illegal and legitimate activities.
    • 33 Metascore
    • 50 Michael Nordine
    Like a feature-length Saturday morning cartoon with dashes of violence so graphic you'd swear you'd just stepped into Ralph Bakshi's Wizards. Which isn't to say that Goliath is good so much as compellingly weird on occasion.
    • 57 Metascore
    • 50 Michael Nordine
    Though Proxy shows early signs of being worthy of that vaunted company, it's brought down by some truly wooden performances and an inability to turn its interesting spark of an idea into a workable story.
    • 38 Metascore
    • 50 Michael Nordine
    Mr. Jones is the stuff of both conspiracy theories and collegiate discourse, and Mueller's elliptical exploration and creation of that mythology sets the bar a bit too high for his much-less-interesting protagonists to fully clear.
    • 56 Metascore
    • 50 Michael Nordine
    With its harmonica-heavy score and rousing shots of these horse-riding antiheroes, Kundo's early and late scenes resemble a Western as much as the historical epic its middle section gradually turns into.
    • 58 Metascore
    • 50 Michael Nordine
    For much of its runtime, the film is simply there, decent for the most part, but at no point immersive.
    • 48 Metascore
    • 50 Michael Nordine
    The film avoids most of its genre's pratfalls, though it also shows little interest in transcending them.
    • 60 Metascore
    • 40 Michael Nordine
    Farmiga and Garcia give it their all, and their chemistry keeps certain scenes afloat.
    • 37 Metascore
    • 40 Michael Nordine
    A self-aware, borderline self-reflexive action-comedy from the Netherlands, Arne Toonen's Black Out is derivative in a way that undermines its wry sense of self.
    • 48 Metascore
    • 40 Michael Nordine
    The Den's commitment to its presentational conceit leads to a number of implausible scenarios, but what's more disheartening is the gore-fest it turns into once the curtain is thrown back on the mystery propelling both Elizabeth and the narrative.
    • 34 Metascore
    • 40 Michael Nordine
    Too by-the-numbers for the emotional impact to resonate as long as it could and should have.
    • 44 Metascore
    • 40 Michael Nordine
    As with many other WWII films, it takes genuinely stirring source material -- a young Hungarian man poses as a Nazi to find his dislocated family -- and reduces it to its most shopworn components.
    • 51 Metascore
    • 40 Michael Nordine
    The story... could have worked well as a pitch-black comedy, but first-time director John Slattery (Mad Men's Roger Sterling) takes the material so seriously that the mood never changes much after leaving the funeral home.