For 528 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 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 100 The Past
Lowest review score: 0 Silent Hill: Revelation 3D
Score distribution:
528 movie reviews
    • 22 Metascore
    • 20 Nick Schager
    Never less than predictable and all-too-often torpid, it’s a work that filters roiling true life through stolid formula.
    • 7 Metascore
    • 20 Nick Schager
    It’s a film that feels like it’s simply going through the motions—not to mention one whose ultimate critique of trying to relive the past is, in light of its mass of clichés, more than a tad disingenuous.
    • 51 Metascore
    • 20 Nick Schager
    Loves Her Gun goes nowhere at a slothful pace.
    • 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.
    • 33 Metascore
    • 20 Nick Schager
    Haunt winds up being memorable only for its absence of subtlety or surprise.
    • 29 Metascore
    • 20 Nick Schager
    A mushy concoction that's not only unfulfilling, it's gag-worthy.
    • 22 Metascore
    • 20 Nick Schager
    Dark House practically drowns under the weight of mismatched horror tropes, including a preponderance of loud-noise jolt-scares and idiotic character behavior.
    • 48 Metascore
    • 20 Nick Schager
    It's a techno-thriller of brain-dead proportions.
    • 34 Metascore
    • 20 Nick Schager
    Rather than having its characters’ circumstances reveal something about societal dynamics or human nature, Aftermath avoids depth; Engert casts his material in strictly suspenseful terms.
    • 27 Metascore
    • 20 Nick Schager
    Unfortunately, no amount of softcore titillation can compensate for all the cheap special effects and faux-profundity dispensed by this superhero-self-help dud.
    • 26 Metascore
    • 12 Nick Schager
    The only thing more narcissistically indulgent than the film's repugnant protagonists is Mark Pellington's iPod-scored, visually flashy, thoroughly hollow directorial celebration of them.
    • 47 Metascore
    • 12 Nick Schager
    If the Adam Shankman film's debasement of its subject into campy kitsch is the unavoidable fate of all culturally dangerous art, that doesn't make it any less palatable.
    • 36 Metascore
    • 12 Nick Schager
    If not for its lack of self-awareness, The Art of Getting By would seem to be a spoof of ennui-inflicted teen dramas, because how else to explain the fact that Gavin Wiesen's debut is comprised of only clichés of clichés?
    • 31 Metascore
    • 12 Nick Schager
    There's no deliberate Texas Chainsaw Massacre 2-style comedy to the film, just dim-witted gruesomeness retrofitted with gimmicky contemporary trappings.
    • 46 Metascore
    • 12 Nick Schager
    Hell is family in Another Happy Day, a portrait of one clan's reunion for a wedding that overflows with characters even more repugnant than the irony of its groan-worthy title.
    • 28 Metascore
    • 12 Nick Schager
    Writer-director Guy Moshe's crime saga is a work of second-generation derivation, weaving together scraps from homages to Westerns, film noir, samurai films, gangster pics, and class-warfare dramas.
    • 17 Metascore
    • 12 Nick Schager
    All's Faire in Love's lackluster compositions and absence of rhythm are a perfect match for writer-director Scott Marshall's script (co-written with R.A. White and Jeffrey Ray Wine), which operates according to a Revenge of the Nerds-style us-versus-them template almost as stagnant as Ricci's phoned-in turn.
    • 71 Metascore
    • 12 Nick Schager
    Is Josh "Skreech" Sandoval the least deserving documentary subject ever?
    • 41 Metascore
    • 12 Nick Schager
    A lost-dog drama so insufferable it makes one wish its human characters would also run off and never return.
    • 32 Metascore
    • 12 Nick Schager
    With the faux-verité aesthetics of [Rec], the American-tourists-in-Eastern-European-hell setup of Hostel, and the brain of a mushy radioactive mutant zombie thingie, Chernobyl Diaries is little more than decomposed horror leftovers.
    • 21 Metascore
    • 12 Nick Schager
    Too derivative to be amusing and too earnest to be parodic, it assumes the form of countless other teen comedies minus any wit or drama.
    • 32 Metascore
    • 12 Nick Schager
    Enduring this brainless kid's film is akin to witnessing the end of the world.
    • 20 Metascore
    • 12 Nick Schager
    Roberto Faenza shoots his Manhattan-set action with a glossiness that's as bland as the soundtrack ballads.
    • 25 Metascore
    • 12 Nick Schager
    Michael J. Gallagher's half-cocked horror fiasco is filled with clichés, pitiful dialogue, and clumsy aesthetics.
    • 63 Metascore
    • 12 Nick Schager
    The film's interests are mainly relegated to wallowing in the frigid-starvation-suffering of its protagonists.
    • 19 Metascore
    • 12 Nick Schager
    Hardboiled noir play-acting doesn't get more sluggish than in this leaden tale that blurs the line between reality and delusion in a way that's less intriguing than simply confusing.
    • 30 Metascore
    • 10 Nick Schager
    A comedy whose cliché-embracing stupidity borders on the surrealistic.
    • 3 Metascore
    • 10 Nick Schager
    Loren's performance is as tonally off as the rest of Bergmann's jokey lark, which strings together characters and twists with amateurishly chaotic abandon.
    • 49 Metascore
    • 10 Nick Schager
    Without any engaging small-scale human drama or larger social or culture-clash import, the film comes across as trivial, and too often also indulgent and pretentious.
    • 35 Metascore
    • 10 Nick Schager
    Quirky indie hell, thy name is Family Weekend. Benjamin Epps's film is the very definition of affected cutie-pie whimsy and weirdness.