For 576 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 15.3 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 100 The Lords of Salem
Lowest review score: 0 Vampires Suck
Score distribution:
576 movie reviews
    • 49 Metascore
    • 40 Nick Schager
    The repeated sight of people watching video monitors or communicating with others via laptops becomes a stilted, gimmicky affectation, and there are only so many times you can watch a camera panning and zooming over still photos before your tolerance for the Ken Burns effect reaches its limit.
    • 37 Metascore
    • 40 Nick Schager
    The star and co-director appears hopelessly out of place, trapped in a variety of awkward-fitting uniforms while forced to offer up laughably obvious battlefield advice ("Avoid gunfire!").
    • 49 Metascore
    • 40 Nick Schager
    It's a saga whose clichéd corniness would be practically sinful if not for the mighty Gugino, who almost counteracts the material's pap with megawatt charm and steel-tough resolve - exemplified by a low-angled intro shot of the poised, strutting, tight-sweater-sexy actress.
    • 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.
    • 40 Metascore
    • 40 Nick Schager
    Whether sleuthing or smacking around thugs, Sisley makes a dashing hero, but this glossy action flick is heavy on tedious convolutions and depressingly light on character depth, suspense or political-economic intrigue.
    • 38 Metascore
    • 40 Nick Schager
    No matter how sensitive the orchestral-string score gets, the film can't locate the bone-deep sense of tragedy of Leslie Schwartz's novel - it just keeps belching out empty, grief-stricken histrionics devoid of insight.
    • 30 Metascore
    • 40 Nick Schager
    The paeans about national pride and brotherhood may be regional, but constant slow-motion battle scenes and squishy sentimentality are strictly wanna-be Tinseltown.
    • 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.
    • 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.
    • 52 Metascore
    • 40 Nick Schager
    Defined by "Three’s Company"–grade humor, this attempt at male-anxiety cringe-comedy is little more than a sitcom writ large that — courtesy of several awkward transitional fades to black — already feels constructed to accommodate commercial breaks.
    • 61 Metascore
    • 40 Nick Schager
    It’s too busy pleasing itself with lame references to (among others) Eddie Vedder and Hillary Clinton that suggest the film believes old stuff is funny because, you know, it’s old.
    • 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.
    • 14 Metascore
    • 40 Nick Schager
    Given that the camera always seems to fall or get knocked into the perfect position to capture the craziness at hand, any vérité pretenses soon prove ridiculous. But it’s no more ridiculous than the plot, which incessantly wastes time trying to flesh out its characters, but barely bothers with building suspense.
    • 55 Metascore
    • 40 Nick Schager
    The doc proves more concerned with promotion than analysis or inquiry, thereby making it a disingenuous non-fiction portrait: an inhibited look at an uninhibited event.
    • 46 Metascore
    • 40 Nick Schager
    The film’s lack of seriousness isn’t the problem; rather, it’s that its jokey carnage is all caricatured poses devoid of original verve or legitimate wit.
    • 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.
    • 30 Metascore
    • 40 Nick Schager
    Mistakenly convinced that cuteness can compensate for a lack of basic believability, The Right Kind Of Wrong squanders its engaging leads and cheerful joviality with a plot of stupefying senselessness.
    • 54 Metascore
    • 38 Nick Schager
    From overwrought flashbacks of Third Master and Madame Kang's initial meetings (and sexual encounter), to the present-day arguments and maneuverings of Lord Kang, Empire of Silver is so determined to stage its material with reverence that it embalms any flickers of passion or tension.
    • 64 Metascore
    • 38 Nick Schager
    Can't mask that, at heart, it's merely a trifling tour documentary that gives further excessive attention to the late-night star's 2010 ouster as The Tonight Show host.
    • 47 Metascore
    • 38 Nick Schager
    Despite aping its title in order to suggest quality by association, Bad Teacher has nothing in common with "Bad Santa" -- including, alas, a genuinely nasty sense of humor.
    • 42 Metascore
    • 38 Nick Schager
    By making John such an unrepentant freedom-opposing monster, Ironclad denies itself any moral thorniness.
    • 54 Metascore
    • 38 Nick Schager
    Michael J. Weithorn's direction underlined its understatement via self-consciously patient camerawork and a doleful score, all in order to further the mournful mood.
    • 64 Metascore
    • 38 Nick Schager
    The Hedgehog ultimately illuminates only the continued lameness of employing out-of-leftfield tragedy for cheap bathos.
    • 52 Metascore
    • 38 Nick Schager
    The fawning personal-life segments are overdone, and undermine the film's compelling reportage about Madoff's ruse and downfall.
    • 44 Metascore
    • 38 Nick Schager
    Avoids funny one-liners like the plague, choosing in their place to deliver only squishy faux-outrageousness that, like Sudeikis's one-note stud, exudes an unwelcome air of self-satisfaction.
    • 33 Metascore
    • 38 Nick Schager
    Twelve long years after "The Blair Witch Project" pushed the first-person-POV subgenre to horror's forefront, and four years after [Rec] expertly refined the formula, Grave Encounters can't even pretend to be anything other than hopelessly derivative.
    • 57 Metascore
    • 38 Nick Schager
    Shut Up Little Man! fails to legitimize its topic as one of any significance.
    • 61 Metascore
    • 38 Nick Schager
    Blackthorn's last-man-standing circumstances, far from a cautionary tale about the cost of the gunslinger life, are glorified as the height of macho nobility.
    • 36 Metascore
    • 38 Nick Schager
    There's no spark or humor to the film's situations, just the sense of capable actors trying to make the best of a hopeless situation.

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