For 30 reviews, this critic has graded:
  • 70% higher than the average critic
  • 0% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 1.9 points higher than other critics. (0-100 point scale)

Nick Prigge's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 75 West
Lowest review score: 38 The Man on Her Mind
Score distribution:
  1. Positive: 20 out of 30
  2. Negative: 4 out of 30
30 movie reviews
    • 65 Metascore
    • 75 Nick Prigge
    The film's impression of personas is less traditionally sinister than representative of its inquiry into identity and what happens when social barriers begin to fall away.
    • 54 Metascore
    • 75 Nick Prigge
    It subtly counteracts the cliché that creative expression can save your life by making its protagonist a hipster Peter Pan whose creative expression is an excuse not to grow up.
    • 64 Metascore
    • 75 Nick Prigge
    Writer-director Andrea Pallaoro's feature-film debut isn't especially beholden to plot or dialogue, impressionistically shaping its story through pervasive silence.
    • 56 Metascore
    • 75 Nick Prigge
    A movingly authentic exploration of a working-class milieu and the psychological and economic trauma that ripples through a town in the wake of a tragic accident.
    • 75 Metascore
    • 75 Nick Prigge
    The distinct lack of domestic drama is precisely what makes the doc so gratifying as a portrait of a family averting turmoil in spite of challenging circumstances.
    • 72 Metascore
    • 75 Nick Prigge
    It effectively demonstrates how the systemic cause of the Deepwater Horizon explosion was tied as much to society's staggering dependence on fossil fuels as to the oil industry's greed.
    • 73 Metascore
    • 75 Nick Prigge
    This is a micro-budgeted affair of the heart that's never precious or obnoxious, but tender and moving and occasionally explosive in its intrinsic emotion.
    • tbd Metascore
    • 75 Nick Prigge
    Christian Schwochow's film is a tense psychological slow burn, putting us in the muddled headspace of its protagonist as she gradually comes unglued.
    • 72 Metascore
    • 75 Nick Prigge
    The film is far from a technical matter, fiercely promoting Swartz's legacy and challenging us with the same questions its central subject was compelled to ask.
    • 52 Metascore
    • 75 Nick Prigge
    Its time-jumping strategy cleverly illuminates the way in which we go over and fixate on isolated incidents in our minds of breakups past.
    • 75 Metascore
    • 75 Nick Prigge
    The doc adopts the viewpoint specifically of those who knew him best, and seeks to separate the person from the emblem.
    • 67 Metascore
    • 75 Nick Prigge
    Lawrence Michael Levine's film occupies a sweet spot between the self-aware and taut.
    • 62 Metascore
    • 63 Nick Prigge
    It flourishes in the spaces between the plot's necessary setups and subsequent payoffs, which is nearly enough to redeem the film if not for the narrative going belly up in the third act.
    • 56 Metascore
    • 63 Nick Prigge
    Ultimately, the film is too nihilistic to believe its protagonist can be saved, declaring him a lost soul and satisfied to let him suffer.
    • 47 Metascore
    • 63 Nick Prigge
    Even at its most compelling, it remains inconsistent and superfluous, a lesson that sometimes a movie can feel more fully formed in 19 minutes rather than 90.
    • 72 Metascore
    • 63 Nick Prigge
    There are grudges held amid all the good will, an intention of the Hypnotic Brass Ensemble to do things on their terms, and those terms stem directly from their upbringing.
    • 48 Metascore
    • 63 Nick Prigge
    This snapshot of catharsis follows a familiar trajectory, but Kate Barker-Froyland refreshingly resists elevating her characters' relationship to the level of grandiose.
    • 58 Metascore
    • 63 Nick Prigge
    Eventually, the film's impressive array of formal pyrotechnics overwhelms its morals.
    • 65 Metascore
    • 63 Nick Prigge
    Though this setup is perhaps infused with too much piety, cheating audience empathy toward the main character, it nonetheless generates a compelling air of social fatalism.
    • 56 Metascore
    • 63 Nick Prigge
    Cherien Dabis is least successful at connecting her character May's marital crisis to the rumblings of her repressed heritage.
    • 44 Metascore
    • 50 Nick Prigge
    Daniel Stamm's film is solidly helmed, if expectedly over-reliant on unnecessarily grisly comeuppances that leave nothing to the imagination.
    • 39 Metascore
    • 50 Nick Prigge
    Drina is less of an individual, and one whom we wish to see avenged, than a transparent martyr for the collective sins of the wealthy few.
    • 18 Metascore
    • 50 Nick Prigge
    Falls back on the trappings of the film's innumerable teenage gross-out forefathers with tiresome vulgarity and rote misunderstandings in place of genuine insight.
    • 47 Metascore
    • 50 Nick Prigge
    Writer-director Nae Caranfil oddly forgoes the abundant elegiac aspects of his film's factual material for a tone approaching the ebullient.
    • 35 Metascore
    • 50 Nick Prigge
    Garrett Hedlund's performance throbs with an anguish that's far more honest than the sentimental euthanasia subplot at the center of the film.
    • 48 Metascore
    • 50 Nick Prigge
    The film begins as a moodily introspective drama about grief before implausibly morphing into a stale thriller.
    • 51 Metascore
    • 38 Nick Prigge
    Throughout, it becomes difficult to know whether we're meant to empathize with these characters or laugh at them.
    • 28 Metascore
    • 38 Nick Prigge
    Whereas "Bad Santa" was nastier and riskier, as well as more mischievously winsome, A Merry Friggin' Christmas is as curiously timid as it is morally dubious.
    • 46 Metascore
    • 38 Nick Prigge
    The premise of faith-based assisted suicide as a motivating factor for a madman's killing spree is initially intriguing, but quickly revealed as solemn window dressing.
    • 25 Metascore
    • 38 Nick Prigge
    The film suggests an ineffectual mishmash of Ruby Sparks-ish high concept and modern Elizabethan comedy.

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