Michael Nordine

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For 158 reviews, this critic has graded:
  • 43% higher than the average critic
  • 8% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Michael Nordine's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Aquarius
Lowest review score: 10 108 Stitches
Score distribution:
  1. Positive: 55 out of 158
  2. Negative: 23 out of 158
158 movie reviews
    • 65 Metascore
    • 40 Michael Nordine
    It's all steak, no sizzle — the opposite of Twisted Sister.
    • 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.
    • 60 Metascore
    • 40 Michael Nordine
    Farmiga and Garcia give it their all, and their chemistry keeps certain scenes afloat.
    • tbd Metascore
    • 40 Michael Nordine
    Initially engrossing as it is, the maximalism loses power sometime in the second act.
    • 34 Metascore
    • 40 Michael Nordine
    Before devolving into the same series of demonic faces and jump-scares we've seen time and again, The Forest is a genuinely unnerving mood piece.
    • 73 Metascore
    • 40 Michael Nordine
    The problem with movies depicting the banality of anything, of course, is that they tend to be pretty banal themselves; in setting out to be the exception to that rule, Eye in the Sky only proves it.
    • tbd Metascore
    • 40 Michael Nordine
    There are more tears than the title lets on, and even more blood, but it's a reason to truly be invested that's missing from No Tears for the Dead, which is rarely any better or worse than serviceable.
    • 69 Metascore
    • 40 Michael Nordine
    For all its aspirations toward movie magic with an activist bent, The Mermaid’s potential implications for the film industry are ultimately more noteworthy than the movie itself.
    • 48 Metascore
    • 40 Michael Nordine
    On-the-nose monologues on the cyclical nature of centuries-old blood feuds ultimately feel more like stuffy lectures than living history; ditto the film as a whole.
    • 36 Metascore
    • 40 Michael Nordine
    Green Dragons wants to be spaghetti with marinara, but it's closer to egg noodles and ketchup.
    • 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.
    • 44 Metascore
    • 40 Michael Nordine
    The filmmaker isn't as nimble as he is ambitious, though, and you'll feel all 148 minutes of Brimstone's runtime — just maybe not in the way Koolhoven wants you to.
    • 35 Metascore
    • 40 Michael Nordine
    31
    Rob Zombie can do better than 31. For proof, just watch any other Rob Zombie movie.
    • 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.
    • 36 Metascore
    • 30 Michael Nordine
    The plot is that most dreadful of mixes: both laughably silly and needlessly complicated.
    • tbd Metascore
    • 30 Michael Nordine
    No one in the movie rises above the level of a stock character, so over-the-top in their familiar jokes as to barely even register as satire.
    • tbd Metascore
    • 30 Michael Nordine
    Those who favor gore above all else will be at home amid the blood and guts, but others should heed the obvious warning invited by the title: don't watch it.
    • 18 Metascore
    • 30 Michael Nordine
    By far the highest concentration of actual humor comes during the blooper reel over the end credits; free of the script’s saccharine constraints, the performers immediately demonstrate their chops.
    • 32 Metascore
    • 30 Michael Nordine
    Two second-act revelations alter its tired dynamic for the better, but those changes are undone by cheap scares and a climactic revelation that's more ho-hum than horrifying.
    • 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.
    • 48 Metascore
    • 30 Michael Nordine
    Worse than the latent silliness of such a premise is how little the filmmakers ultimately do with the world of narrative possibilities it presents; in attempting to show the universality of love, The Beauty Inside succeeds in showing the opposite.
    • 38 Metascore
    • 30 Michael Nordine
    Roth amplifies that exploitation flick's least interesting components (gore, cruelty) at the expense of all others.
    • 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.
    • 25 Metascore
    • 30 Michael Nordine
    The main enticement is getting to see Cage go full bore. And he does, gesticulating wildly and assuming an unplaceable accent, but as the only combustible element in this otherwise lackadaisical film, his energy ends up bouncing around with nowhere to go.

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