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 Days of Heaven
Lowest review score: 0 Silent Hill: Revelation 3D
Score distribution:
576 movie reviews
    • 56 Metascore
    • 40 Nick Schager
    Wholesome to the point of being dull.
    • 22 Metascore
    • 40 Nick Schager
    John Whitesell's extraordinarily witless movie operates as a checklist for cultural and racial clichés.
    • 40 Metascore
    • 40 Nick Schager
    Tin-eared, corny attempt at fairy-tale interpretation.
    • 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.
    • 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.
    • 32 Metascore
    • 40 Nick Schager
    Rife with classic-cinema shoutouts, the film is a cutesy, toothless variation on "Mulholland Drive," one whose attempts to pay tribute to movie magic are ultimately undercut by stagey aesthetics and narrative theatricality.
    • 57 Metascore
    • 40 Nick Schager
    Suffice it to say, life's too short for such self-indulgent glibness.
    • 45 Metascore
    • 40 Nick Schager
    As the seductive and conniving Angelica, Cruz is luminous, albeit not enough to compensate for Marshall shrouding virtually every major set piece in nighttime fogginess.
    • 46 Metascore
    • 40 Nick Schager
    Like many similarly twisty tales, Reversion's narrative logic is undermined by its characters' irrational behavior.
    • 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.
    • 42 Metascore
    • 40 Nick Schager
    Chalet Girl is just a compendium of genre clichés - minus the usual racism and t&a.
    • 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.
    • 23 Metascore
    • 40 Nick Schager
    Cohabitation "commandments" and talk of "chick flicks" further send the material into a cutesy tailspin, with the script's low point an egregious scene featuring Nate sneaking a peek at a silhouette of Jenny undressing behind a curtain.
    • 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.
    • 42 Metascore
    • 40 Nick Schager
    The mood is generally melodramatic and ends as mushy, aided by the soft-focus cinematography that drenches it all in melancholic nostalgia.
    • 54 Metascore
    • 40 Nick Schager
    The trio's mourning feels more like immature self-absorption.
    • 42 Metascore
    • 40 Nick Schager
    Despite referring to the tribe as "my people," Routh is wholly miscast, yet his ill-fitting presence is part and parcel of the plotting's general illogicality.
    • 46 Metascore
    • 40 Nick Schager
    Unfortunately, mocking jibes and cutaways to Team America and Wonder Woman (among other movies and TV shows) establish a jokey attitude that weakens the overall case.
    • 54 Metascore
    • 40 Nick Schager
    A musty ghost story that morphs into a sluggish serial-killer mystery, Nicholas McCarthy's film tries to distinguish itself by minimizing dialogue and settings, a stripped-down approach that extends to sketchy characters and a script rife with convenient, easy-to-assemble clues.
    • 62 Metascore
    • 40 Nick Schager
    Raunchy dude comedy is hardly the sole province of American cinema, as Klown all too dispiritingly reconfirms.
    • 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.
    • 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.
    • 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.
    • 37 Metascore
    • 40 Nick Schager
    There are good intentions here, but too little nuance.
    • 45 Metascore
    • 40 Nick Schager
    Although enthralled by brooding, self-absorbed teenagers, the film doesn't present a single believable one.
    • 34 Metascore
    • 40 Nick Schager
    Little girls never stop loving their daddies in Festival of Lights, a drama that never stops loving soap-opera-style melodramatics.
    • 79 Metascore
    • 40 Nick Schager
    Life of Pi manages occasional spiritual wonder through its 3-D visuals but otherwise sinks like a stone.
    • 62 Metascore
    • 40 Nick Schager
    Any transformation feels like a device, and any modest hopefulness comes across as simply the unearned wishful thinking of the filmmaker.
    • 54 Metascore
    • 40 Nick Schager
    Messina's performance has a lived-in, emotional messiness, but the film is nothing but clichés.
    • 42 Metascore
    • 40 Nick Schager
    The film is as lightweight as the ganja-puffing is plentiful, little more than a vanity project that allows its subject to wax philosophical on his past triumphs, tragedies, and spiritual development (aided by Louis Farrakhan) from gangland pimp to nonviolent family man.

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