For 560 reviews, this critic has graded:
  • 25% higher than the average critic
  • 4% same as the average critic
  • 71% lower than the average critic
On average, this critic grades 14.9 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 100 Days of Heaven
Lowest review score: 0 Vampires Suck
Score distribution:
560 movie reviews
    • 65 Metascore
    • 40 Nick Schager
    There's only one thing worse than a leaden moral fable that tackles issues of forgiveness with sledgehammer contrivances, and that's one that attempts to mask its manipulative corniness with an air of trumped-up gravity.
    • 22 Metascore
    • 40 Nick Schager
    John Whitesell's extraordinarily witless movie operates as a checklist for cultural and racial clichés.
    • 43 Metascore
    • 40 Nick Schager
    The lesson here, apparently, is that driven women just need to lighten up and stop being selfish - a message that really does feel backward.
    • 50 Metascore
    • 40 Nick Schager
    Carolla's stilted screen presence and groan-worthy zingers neuter any humor from Bruce's needy quest to return to the spotlight.
    • 39 Metascore
    • 40 Nick Schager
    Despite the usual end-of-world crisis and Mount Olympus MVP characters, there’s no sense that anything’s truly at stake; rather, it feels as if the filmmakers are coasting on the fumes of teen-angst fantasy and making up their fairy-tale rules (Cyclopes are fireproof!) as they go along.
    • 42 Metascore
    • 40 Nick Schager
    The photogenic cast's looks far exceed their featureless performances, and any mood of sunshiny malevolence is undercut by too many studied directorial compositions.
    • 36 Metascore
    • 40 Nick Schager
    A dog in wolf's clothing, Lionsgate's drab, anthropomorphic animal saga does little more than reconfirm the preeminence of Pixar.
    • 40 Metascore
    • 40 Nick Schager
    From hairstyles and clothes to autumnal-hued cinematography and a raft of clichéd incidents involving pills, suicide, sneaking out, and blackmail, everything feels dainty to the point of stale.
    • 62 Metascore
    • 40 Nick Schager
    Raunchy dude comedy is hardly the sole province of American cinema, as Klown all too dispiritingly reconfirms.
    • 44 Metascore
    • 40 Nick Schager
    This behind-the-curtain portrait winds up revealing only the most superficial-and glaringly obvious-of truths.
    • 55 Metascore
    • 40 Nick Schager
    Unfortunately, Mumbai Diaries addresses these weighty concerns with such delicacy that they barely make an impact, thus calling further undue attention to the creakiness of the warhorse plot.
    • 57 Metascore
    • 40 Nick Schager
    Chen's attention to character over spectacle pays minimal dividends and is compounded by the fact that his battles - full of standard-issue slow motion and hacked-off limbs - are as dull as an overused blade.
    • 33 Metascore
    • 40 Nick Schager
    Content to be a typical piece of tween rural-versus-urban fluff from the old Hannah Montana: The Movie mold. Such lazy complacency is almost enough to make you see red.
    • 50 Metascore
    • 40 Nick Schager
    Remember the "Seinfeld" episode in which Jerry and Elaine try to become friends with benefits, and set up unsustainable ground rules for their new arrangement? Imagine it rewritten by the Romantic Comeditron 2000 as a profanity-laced schmaltzfest, and you've got this tone-deaf dud.
    • tbd Metascore
    • 40 Nick Schager
    For a film about a stand-up comedian to be mirthless is dispiriting; more problematic, however, is that The Stand Up doesn't make up for that absence of humor with any legitimate drama.
    • 45 Metascore
    • 40 Nick Schager
    Director Jacob Rosenberg's approach is heavy with archival footage and interviews, yet oddly features almost nothing from Way himself; his puzzling absence for most of the film turns the project into less of a biography than a one-note hagiography.
    • 61 Metascore
    • 40 Nick Schager
    Like so many documentaries made in a pop style, Generation Iron is a squandered opportunity, sacrificing depth and insight for superficial portraiture and drama.
    • 53 Metascore
    • 40 Nick Schager
    The movie's overall lack of imagination is the real tragedy.
    • 49 Metascore
    • 40 Nick Schager
    Imagination is in short supply, with rubbery heroes repeatedly plummeting (down chutes, primarily) or hopping and running in slow motion-images that (to state what has now become the obvious) are seldom enhanced by pedestrian IMAX 3-D effects.
    • 62 Metascore
    • 40 Nick Schager
    Puenzo dramatizes her material with an overcooked sense of import that generates scant suspense.
    • 47 Metascore
    • 40 Nick Schager
    Emitting the unpleasant stench of over-affectation, Treading Water slaps together its particular peculiarities with such randomness, it’s as if the film were conceived from blindly throwing disparate elements at the wall.
    • 54 Metascore
    • 40 Nick Schager
    Messina's performance has a lived-in, emotional messiness, but the film is nothing but clichés.
    • 46 Metascore
    • 40 Nick Schager
    Like many similarly twisty tales, Reversion's narrative logic is undermined by its characters' irrational behavior.
    • 37 Metascore
    • 40 Nick Schager
    Like Shlain's hand-written diagram in which lines twist and knot while linking various subjects, the film resembles not a coherent thesis but a tangle of semi-related ideas.
    • tbd Metascore
    • 40 Nick Schager
    Content to stay on the surface, it's a puff piece posing as a real documentary.
    • tbd Metascore
    • 40 Nick Schager
    Like its title, Heist: Who Stole the American Dream? purports to ask a question but is only interested in forwarding its predictable agitprop answer.
    • 45 Metascore
    • 40 Nick Schager
    After poking fun at both Green's lack of originality and the hackneyed nature of found-footage shockers, Digging Up the Marrow merely resorts to climactic shaky-cam footage of people running through the pitch-black woods -- thereby becoming the very dull, clichéd thing it mocks.
    • 59 Metascore
    • 40 Nick Schager
    Without a complex thought about narcissism, merit, or addiction, Limitless is content to be an empty, one-note, satire-free fairy tale of avarice and corporate-political ambition.
    • 51 Metascore
    • 40 Nick Schager
    Less inept than its worst-of-the-year title suggests, 3, 2, 1 . . . Frankie Go Boom nonetheless proves too ramshackle and aimless to ever achieve true absurdity.

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