Michael Nordine
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For 77 reviews, this critic has graded:
  • 36% higher than the average critic
  • 12% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 8.4 points lower than other critics. (0-100 point scale)

Michael Nordine's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 100 Metalhead
Lowest review score: 10 108 Stitches
Score distribution:
  1. Positive: 21 out of 77
  2. Negative: 14 out of 77
77 movie reviews
    • tbd Metascore
    • 40 Michael Nordine
    Far better as a family drama than as a gangster picture, the film's muddled attempt at marrying the two distracts from its emotional center.
    • 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
    It's easy to get lost in the natural beauty of Vermont, and Mosher (who worked on the film with several students as part of a Marlboro College program) clearly takes joy in doing so. The liveliest counterpart to that striking landscape isn't Dern, but rather Jessica Hecht as his wayward daughter, who hits all the grace notes the rest of the film tends to miss.
    • 36 Metascore
    • 38 Michael Nordine
    That all the good things--and there are several--Red Lights has going for it are ultimately in service of an ending that might even make M. Night Shyamalan cringe represents one of the year's biggest missed opportunities.
    • 46 Metascore
    • 38 Michael Nordine
    It's the kind of movie you'd find in someone's VHS collection, decide to watch based on the box art and title, and end up switching out for "The House of the Devil" instead.
    • 43 Metascore
    • 30 Michael Nordine
    An extended riff on marital infidelity, this is the rare omnibus film that isn't just a mixed bag -- it very nearly succeeds at being uniformly bad.
    • 38 Metascore
    • 30 Michael Nordine
    Returning director Tim Story lays out the narrative wares with all the subtlety of a neon sign on the Strip, not that the screenplay from Keith Merryman and David A. Newman (who also co-wrote the first one) gives him much to work with.
    • 22 Metascore
    • 30 Michael Nordine
    The gradual revelation that there's more to Daisy than meets the eye is no great surprise, but it does at least negate — too late! — some of the more troubling subtext.
    • 22 Metascore
    • 30 Michael Nordine
    Co-writer/director Jonathan English ups the viscera and nudity at the expense of a compelling narrative, which was hardly the original’s strong suit (if indeed it had one) anyway.
    • 44 Metascore
    • 30 Michael Nordine
    So far removed from any original signal — there are several direct references to Titanic, so it's timely, too — this nuance-free affair registers as little more than noise.
    • 37 Metascore
    • 30 Michael Nordine
    Most of the film's major happenings are either illogical or, much more damningly, not especially thrilling.
    • 41 Metascore
    • 30 Michael Nordine
    The film is content to merely document certain happenings and hope you find them as interesting as it does.
    • tbd Metascore
    • 30 Michael Nordine
    Stachura turns everything up to 11 almost from the outset, and all escalation from there feels overwrought.
    • 31 Metascore
    • 25 Michael Nordine
    A Dark Truth is one of those unfortunate projects whose component parts are immediately at odds with one another.
    • tbd Metascore
    • 20 Michael Nordine
    None of these TV-movie trappings does Freedom's topical subject any favors, but they do confirm that those most passionate about something often require some sort of creative filter when making art about it.
    • 32 Metascore
    • 12 Michael Nordine
    To question where things went wrong feels somehow strange, as the project seems to have been ill-conceived from the very start.
    • tbd Metascore
    • 10 Michael Nordine
    Its utterly predictable narrative and lazy sexism make for a toxic combination.

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