For 523 reviews, this critic has graded:
  • 24% higher than the average critic
  • 4% same as the average critic
  • 72% lower than the average critic
On average, this critic grades 15.1 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 44
Highest review score: 100 The Lords of Salem
Lowest review score: 0 Vampires Suck
Score distribution:
523 movie reviews
    • 37 Metascore
    • 20 Nick Schager
    Girl Most Likely strands Kristen Wiig in a dreadful, disingenuous city-vs.-suburbs comedy that mercilessly mocks New Jersey before turning around and celebrating its provincial trashiness over the hoity-toity snootiness of Manhattan.
    • 34 Metascore
    • 20 Nick Schager
    Its tolerant messages remain buried beneath lame pop-culture references, hectic slapstick, fart jokes, and endless Smurf-puns that—Azaria's funny, over-the-top cartoon villainy aside—make one pine for the Smurfpocalypse.
    • 40 Metascore
    • 20 Nick Schager
    Insidious Chapter 2 picks up where its predecessor left off-- in abject silliness.
    • 34 Metascore
    • 20 Nick Schager
    Without comments from Akka's Jewish residents or any conflicting voices, the film plays like a propagandistic attempt to reshape historical and contemporary narratives.
    • 37 Metascore
    • 20 Nick Schager
    Amid much overacting, Kaige addresses the subjectivity and unreliability of images through this-isn't-what-it-looks-like scenarios that would make Jack Tripper groan.
    • 24 Metascore
    • 20 Nick Schager
    The film indulges in much wannabe-funny wailing, shrieking, and flopping about by Nénette and Paul, only to then lace its buffoonish material with semi-serious undercurrents.
    • 48 Metascore
    • 20 Nick Schager
    It's a techno-thriller of brain-dead proportions.
    • 29 Metascore
    • 20 Nick Schager
    A mushy concoction that's not only unfulfilling, it's gag-worthy.
    • 30 Metascore
    • 20 Nick Schager
    It's the wooden plotting and cornball sentimentality--and, most unpleasant of all, the full-frontal nudity of Jamie Kennedy--that truly make this AVN-themed fairy tale, ahem, hard to swallow
    • 25 Metascore
    • 20 Nick Schager
    From a bevy of cheesy jolt scares (alarm clock! barking dog!) to the embarrassing sight of Zellweger and Ian McShane treating this Orphan-style B-movie silliness with grave seriousness, the film proves to be one hokey-horror riot.
    • 39 Metascore
    • 20 Nick Schager
    Even with the grungy aesthetics and earnest preaching, Inhale is really nothing but crass topical exploitation, milking this social issue for every salacious drop.
    • 33 Metascore
    • 20 Nick Schager
    It's simply one wearisome '90s crime-cinema cliché after another.
    • 51 Metascore
    • 20 Nick Schager
    The film succeeds only in turning one's stomach via implausibilities, inanities and the unwelcome sight of Brian Dennehy's naked ass.
    • 20 Metascore
    • 20 Nick Schager
    Further marred by second-rate 3-D and the sort of cornball one-liners that even a fairy godmother couldn't love, it's a tolerance-testing tale that puts the grim in Grimm.
    • 57 Metascore
    • 20 Nick Schager
    Michael Goldbach's pretentious take on identity development is woefully lacking in either subversive humor or genuine pathos; the overwrought end-of-the-world backdrop of a rampaging serial killer and a toxic industrial fire only poisons the concoction further.
    • 25 Metascore
    • 20 Nick Schager
    Agent-turned-director Tony Krantz has a penchant for stylization that quickly slides into a velvet-painting cheesiness, which-along with the script's pseudoprofound Philosophy 101 maxims-renders the atmosphere less noirish than ridiculously cartoonish.
    • 22 Metascore
    • 20 Nick Schager
    Self-aware narcissism has rarely been this unjustified-or insufferable.
    • 46 Metascore
    • 20 Nick Schager
    Based on a true story that culminated with the expulsion of 3 million Germans from Czechoslovakia, the film leaps through years with a rapidity that negates a good deal of its sweep.
    • 19 Metascore
    • 20 Nick Schager
    While it may make the City of Light look beautiful, ultimately, this insufferable indie auteur's navel-gazer is just another faux-kinky vanity project in which its creator's neuroses are placed on an undeserved pedestal.
    • 22 Metascore
    • 20 Nick Schager
    Flirty bickering is rampant but, courtesy of Heigl's inert performance, there's no heat or humor to the proceedings, just an avalanche of grating big-hair-and-bad-accent New Joisey caricatures.
    • 44 Metascore
    • 20 Nick Schager
    Something happens here, but it isn't life.
    • 41 Metascore
    • 20 Nick Schager
    Why anyone would want to spend time with a foursome whose bathetic misery is, like the overly mannered visuals of writer-director Dennis Lee (Fireflies in the Garden), defined by such insufferable quirkiness is anyone's guess.
    • 50 Metascore
    • 20 Nick Schager
    The real scam was the filmmakers tricking Rebecca Hall (and a cameoing Amanda Seyfried) into participating in this blunt instrument of an indie.
    • 26 Metascore
    • 20 Nick Schager
    The story is ultimately nothing more than a decrepit vehicle for the moldiest of scary-movie clichés: screechy specters, inane character behavior and jump scares that a toddler could anticipate minutes ahead of time.
    • 27 Metascore
    • 20 Nick Schager
    That sort of fire-and-brimstone morality dominates this one-note sermon, which pairs its pedantic preaching with the campiness of Vanessa Williams speaking in an absurd French accent and Kim Kardashian as the protagonist’s bitchy fashionista coworker, vainly trying to act.
    • 63 Metascore
    • 20 Nick Schager
    It’s a film that’s about as funny and/or scary as a lump of sod.
    • 42 Metascore
    • 20 Nick Schager
    Director Luc Besson treats his protagonists as likable cartoons yet never provides a single reason to view them as anything less than remorseless, repugnant psychos.
    • 49 Metascore
    • 20 Nick Schager
    Edited to ribbons so that every peripheral player — Kate Bosworth, Radha Mitchell, Josh Lucas, Henry Thomas — is even more one-dimensional than Kerouac himself, it’s a work that accurately expresses the awfulness of narcissistic self-destruction, and nothing else.
    • 49 Metascore
    • 20 Nick Schager
    What’s proffered isn’t a scientific argument against a burgeoning agro-industrial movement, but an emotional, quasi-spiritual case about humanity's relationship with the environment.
    • 19 Metascore
    • 20 Nick Schager
    Crave is nothing but empty movie-shout-out posturing.