Michael Nordine
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For 67 reviews, this critic has graded:
  • 37% higher than the average critic
  • 13% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 8.8 points lower than other critics. (0-100 point scale)

Michael Nordine's Scores

  • Movies
  • TV
Average review score: 51
Highest review score: 90 Thou Wast Mild and Lovely
Lowest review score: 10 108 Stitches
Score distribution:
  1. Positive: 20 out of 67
  2. Negative: 14 out of 67
67 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.
    • 64 Metascore
    • 90 Michael Nordine
    Our glimpses of what's already occurred and what will soon come are vivid and impressionistic, prophetic warnings about which everyone seems powerless to do anything other than silently observe.
    • 61 Metascore
    • 90 Michael Nordine
    There are no jump-scares in this sensuous thriller, and the lack of anything corporeal on which to focus our unease only makes Butter on the Latch more darkly exhilarating.
    • 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.
    • 68 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.
    • 68 Metascore
    • 70 Michael Nordine
    While hardly the first or most accomplished film of its kind, Death Metal Angola's focus on the ability of abrasive music to act as a healing agent builds toward genuine moments of renewal and serenity.
    • 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.
    • 62 Metascore
    • 60 Michael Nordine
    Lemelson's interviews can be repetitive in their direct staging, but there's inspiration in his conceit of using a shadow-puppet performance set to gamelan music as interludes.
    • 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.
    • 71 Metascore
    • 50 Michael Nordine
    Too bad the filmmaking never rises to the level of its subject.
    • 55 Metascore
    • 50 Michael Nordine
    It’s unfortunate that, even with this wealth of uncovered materials, I Am Ali still plays as a greatest-hits version of its subject’s life, offering little depth or insight into any one element of it.
    • 58 Metascore
    • 50 Michael Nordine
    There are too many notes that, while not false, are neither satisfactorily resolved nor left interestingly unresolved.
    • 49 Metascore
    • 50 Michael Nordine
    The film is far less successful once it delves into body horror that makes Sarah's transformation as ghoulishly physical as it is mental.
    • 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.
    • 32 Metascore
    • 40 Michael Nordine
    One test for movies like this is whether they bemoan the inevitable gore or revel in it; The Human Race too often falls into the latter, amplifying and focusing on the bloodshed.
    • 43 Metascore
    • 40 Michael Nordine
    Like many docs with activist undertones, Second Opinion tells a potentially interesting story in a bland way.
    • 40 Metascore
    • 40 Michael Nordine
    Co-writer/director Matt Rabinowitz doesn’t artfully withhold information so much as lay it all on the table a bit earlier than he might have.
    • 36 Metascore
    • 40 Michael Nordine
    Green Dragons wants to be spaghetti with marinara, but it's closer to egg noodles and ketchup.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    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.
    • 31 Metascore
    • 25 Michael Nordine
    A Dark Truth is one of those unfortunate projects whose component parts are immediately at odds with one another.
    • 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.

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