For 705 reviews, this critic has graded:
  • 27% higher than the average critic
  • 4% same as the average critic
  • 69% lower than the average critic
On average, this critic grades 15.4 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 46
Highest review score: 100 The Past
Lowest review score: 0 I Send You This Place
Score distribution:
705 movie reviews
    • 49 Metascore
    • 58 Nick Schager
    The film's lack of terror might be more forgivable had it embraced its more humorous inclinations, but the script’s pedestrian liberals-vs.-conservatives, boors-vs.-yuppies conflicts rarely result in anything laugh-out-loud funny.
    • 65 Metascore
    • 58 Nick Schager
    Lawrence is never less than commanding in her last outing as the fiery dystopian heroine, but the most heartening liberation proffered by Part 2 is its star’s escape from this one-note fantasy series.
    • 51 Metascore
    • 58 Nick Schager
    In its portrait of a strong, independent woman learning to embrace her own ambition, desires, and future via the aid of an older male mentor-cum-father-figure, it colors its triumphant fantasy of female empowerment in a distinctly conservative, paternalistic shade.
    • 68 Metascore
    • 58 Nick Schager
    Unfortunately, while the documentary’s points are clear, its desire to articulate them primarily through contrasts neuters some of its persuasiveness.
    • 56 Metascore
    • 50 Nick Schager
    Its commentary on our fascination with law-breakers is virtually nonexistent, except to the extent that the film itself revels in the doomed romanticism of its own protagonist.
    • 67 Metascore
    • 50 Nick Schager
    Long on hopefulness but short on sobering realities, Elevate proves a compelling if superficial look at the arduous path traveled by Senegalese teens hoping to make it to America for a higher education and an NBA career.
    • 42 Metascore
    • 50 Nick Schager
    A coherent characterization of Robert Pattinson's striving schemer is nowhere to be found in this pedestrian period piece.
    • 54 Metascore
    • 50 Nick Schager
    It’s well-intentioned, but it’s all diagnosis, no prescription.
    • 69 Metascore
    • 50 Nick Schager
    Style can't fully compensate for a tale that, underneath its gorgeous affectations, proves undercooked, especially during a third act that provides duly titillating answers to its initially beguiling mysteries.
    • 63 Metascore
    • 50 Nick Schager
    Stallone yearns to investigate the loneliness of a man who can’t get over the past, an endeavor which entails unwieldy speeches (delivered by the actor in his patented “yews guys” patois) and reflective shots of the city’s skyline.
    • 68 Metascore
    • 50 Nick Schager
    A deranged pseudo-feminist fable, Kumiko, the Treasure Hunter takes its tedious time getting to its unrewarding destination.
    • 52 Metascore
    • 50 Nick Schager
    Cursed with a vague, rambling script and an equally indistinct lead performance, the film is a scattershot series of vignettes about self-definition that, ultimately, never coheres into a lucid whole.
    • 62 Metascore
    • 50 Nick Schager
    Writer-director Adam MacDonald's direction creates an ominous sense of rural-nowhere isolation, and his script avoids contrived banter while shrewdly suggesting it's headed toward horror before unexpectedly veering into survival-story territory. Nonetheless, such misdirection can't compensate for hopelessly routine action.
    • 60 Metascore
    • 50 Nick Schager
    A film that assembles many of the author’s most memorable creations with noisy, tossed-off sloppiness.
    • 57 Metascore
    • 50 Nick Schager
    Coogan's portrayal is heartfelt, but The Look of Love rarely exploits its star's comedic dexterity.
    • tbd Metascore
    • 50 Nick Schager
    It's as unsubtle as a boot to the head, but its dour-and-campy lo-fi style is far preferable to the spastic flash of its big-budget genre compatriots.
    • 64 Metascore
    • 50 Nick Schager
    Regardless of its capable performances and understated direction, and no matter that it was inspired by Sadwith’s own hunt for Salinger, Coming Through the Rye comes across as a cute conceit incapable of sustaining a substantial feature.
    • 51 Metascore
    • 50 Nick Schager
    Splintered between thinly sketched focal points rather than actually plumbing the real fear, paranoia and elation that come from operating without a romantic partner, How to Be Single never transcends its most sitcom-y instincts.
    • 62 Metascore
    • 50 Nick Schager
    Reset is so gorgeously shot that it almost distracts attention away from the sheer inertia of its material.
    • 72 Metascore
    • 50 Nick Schager
    J.J. Abrams's latest puts a modern spin on classical material, though here reinvention isn't the goal so much as slavish duplication embellished with muscular CG effects.
    • 42 Metascore
    • 50 Nick Schager
    Jem has less in common with its neon-drenched ‘80s source material than with the real-life Internet-to-red-carpet trajectory of Justin Bieber — a similarly generic teen idol with moves dully modeled on superior artistic predecessors.
    • 58 Metascore
    • 50 Nick Schager
    Romantic comedy clichés are given a superficial East-meets-West (and vet-back-home) makeover in Amira & Sam, a love story whose likable stars can’t compensate for a story that tediously adheres to formula.
    • 75 Metascore
    • 50 Nick Schager
    It’s a unique, associative blend of sounds and images that aims to convey details as well as underlying truths about Frank’s life. Unfortunately, it also often leaves one feeling aesthetically pummeled to the point of exhaustion.
    • 35 Metascore
    • 50 Nick Schager
    Treading well-worn ground to diminishingly creepy returns is a bone-deep problem for Zombie’s latest, especially with regard to his characters.
    • 62 Metascore
    • 50 Nick Schager
    It's not clear what Warriors of the Rainbow: Seediq Bale values more - endless preaching about ancestral spirits or gruesome CG decapitations.
    • 66 Metascore
    • 50 Nick Schager
    Alexandre de La Patellière and Matthieu Delaporte’s comedy (based on Delaporte’s play) comes across as a poor man’s Carnage, with bitter resentments and cruel assumptions erupting from beneath its characters’ seemingly cheery, jovial façades.
    • 72 Metascore
    • 50 Nick Schager
    The result is a film that eschews in-depth insight in favor of easily digestible who's-going-to-win suspense, a tack that's aided by Kargman's rather poignant (and visually graceful) evocation of pre-performance anxiety but ultimately leaves the material feeling deflated once the winners emerge.
    • 49 Metascore
    • 50 Nick Schager
    Owen and Binoche's vigorous, battle-scarred performances, prop up Words and Pictures even when its plotting resorts to unbelievable devices.
    • 57 Metascore
    • 50 Nick Schager
    Notwithstanding John Turturro's amusingly smug Italian F1 speedster and a few lighthearted jabs at Japanese TV and technology, Cars 2 generally remains stuck in neutral.
    • 65 Metascore
    • 50 Nick Schager
    They Call Us Monsters, alas, is so taken with its access to kids facing such legal circumstances that it forgets to form a compelling argument about them.

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