For 749 reviews, this critic has graded:
  • 28% higher than the average critic
  • 5% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 15.6 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 47
Highest review score: 100 Days of Heaven
Lowest review score: 0 Golf in the Kingdom
Score distribution:
749 movie reviews
    • tbd Metascore
    • 30 Nick Schager
    The underlying point of this elaborate stunt is that modern audiences are all too willing to believe (and be manipulated by) anything sold in a familiar nonfiction package. No matter how valid that theory might be, there are surely more compelling ways to offer it than via a one-note, 88-minute-long joke.
    • tbd Metascore
    • 40 Nick Schager
    The director posits that the world is now shaped by clandestine arms deals conducted, often illegally, by the U.S. and Great Britain, but Shadow World sells its argument about the West's criminality not with reporting but through paranoid propaganda.
    • 57 Metascore
    • 50 Nick Schager
    This adaptation of Ransom Riggs’ children’s-lit novel offers up merely serviceable studio spectacle, minus any of Burton’s former malevolent mad-genius spirit.
    • 70 Metascore
    • 70 Nick Schager
    A Man Called Ove — preaching tolerant togetherness as the key to happiness — earns its sentimentality by striking a delicate balance between barking-mad comedy and syrupy melodrama.
    • 32 Metascore
    • 30 Nick Schager
    A film that — from its basic set-up to its dearth of tension — plays like the tedious inverse of Don't Breathe.
    • 67 Metascore
    • 70 Nick Schager
    "Southwest of Salem” proves a portrait of individual tragedy, and an indictment of a system willing to let prejudice cloud its judgment — and, also, to avoid admitting its own wrongdoing.
    • 75 Metascore
    • 80 Nick Schager
    Subtly visualizing the connection shared between the land and its people (and their interior conditions), Tanna proves rich in both sociological detail and roiling emotions.
    • 67 Metascore
    • 70 Nick Schager
    Cuban-American writer-director Julio Quintana’s feature debut has an understated formal loveliness that helps offset its more heavy-handed allegorical inclinations.
    • 45 Metascore
    • 50 Nick Schager
    Director Christian Carion’s first feature since 2009’s “Farewell” is bolstered by a sweeping Ennio Morricone score, yet his narrative is too episodic, and his characters too one-dimensional, to carry the weight of grand historical tragedy, resulting in a picturesque, middle-of-the-road effort.
    • 77 Metascore
    • 100 Nick Schager
    Based on the harrowing book by Eric Schlosser (who not only co-wrote, but also appears in the film), this unsettling production...is equal parts history lesson, cautionary tale and nerve-rattling thriller, using all manner of nonfiction devices to elicit both horror and outrage over the precariousness of our deadliest arsenals.
    • 36 Metascore
    • 10 Nick Schager
    It's the rare film to miss its every mark.
    • 68 Metascore
    • 60 Nick Schager
    Despite a strong sense of its characters, however, Kelly rarely generates much melodramatic or amusing momentum.
    • 56 Metascore
    • 50 Nick Schager
    Swinton’s warm, unassuming direction generates an intimacy that does much to compensate for the overarching project’s wispiness — although even her clear affection for Berger can’t ultimately make “The Seasons in Quincy” more than a for-aficionados-only companion piece to his pre-existing paintings and writing.
    • 86 Metascore
    • 80 Nick Schager
    Without narration or a conventional storyline, it’s a uniquely insightful memoir-cum-critical-treatise.
    • 35 Metascore
    • 30 Nick Schager
    An insistent, clunky sermon about triumph through faith, David Hunt’s film is so determined to turn its subject into a Christ-like saint that it loses any sense of him as an actual flesh-and-blood man, the result being a third-string sports saga only apt to play to its devout target audience.
    • tbd Metascore
    • 30 Nick Schager
    Writer-director Brett Allen Smith’s quasi-romance meanders about with the same aimlessness as its characters, revealing nothing substantial about them, or twentysomething love and identity formation.
    • 84 Metascore
    • 75 Nick Schager
    Beginning with a series of traps before escalating into sword-to-sword skirmishes, Miike's centerpiece boasts sharp momentum and nasty muscularity.
    • 37 Metascore
    • 20 Nick Schager
    A crude sugary-sweet fantasy.
    • tbd Metascore
    • 30 Nick Schager
    Bazodee itself dutifully hews to convention, but its plotting is so torpid that it never feels as if there are any genuine stakes to the protagonist’s which-beau-should-I-choose predicament.
    • 51 Metascore
    • 40 Nick Schager
    Only faintly touching upon notions of intuitive collaboration and inspiration, For the Plasma wanders about as if it’s in a fog, ultimately to the point of pointlessness.
    • 74 Metascore
    • 75 Nick Schager
    Though its verité aesthetics are often more serviceable than inspired, and its vague who-what-where-when-why set-up neuters some of its lingering impact, the film’s depiction of entrenched prejudice remains astutely realized.
    • tbd Metascore
    • 30 Nick Schager
    With characters who range from mildly aggravating to out-and-out intolerable, and revolving around a game whose outcome is of no meaningful consequence, this underdogs-make-good fairy tale is a dramatic and comic rainout.
    • 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.
    • tbd Metascore
    • 40 Nick Schager
    The pitfall of a tantalizing set-up is that it requires a sterling payoff to match — a recipe for disappointment born out by Rebirth, whose premise-establishing early passages lead only to underwhelming revelations.
    • 52 Metascore
    • 80 Nick Schager
    Mature and moving in its navigation of convoluted, conflicting desires, it’s an indie as assured in its silences as it is in its speeches.
    • 72 Metascore
    • 90 Nick Schager
    Striking in its evocation of a demanding time and place, this intimate drama about individual and national transformation heralds the arrival of an arresting new filmmaking voice.
    • 46 Metascore
    • 50 Nick Schager
    With a scuzzy style to match its sleazeball vision of spotlight desperation and depravity, this Tinseltown satire — led by voice work from Paul Rudd and Patton Oswalt — revels in the foulness of 21st-century pop culture, albeit to a degree that’s ultimately both exhausting and redundant.
    • 67 Metascore
    • 70 Nick Schager
    Yadav pinpoints the various ways in which institutional and personal prejudices keep people enslaved, crafting a sharp portrait of gender inequality.
    • 25 Metascore
    • 10 Nick Schager
    Throughout, Bird’s visuals are consistently flat, and his habit of cinematographically spinning around his characters (at a dinner table, on a dance floor, in a field) is dizzying in an unpleasant, nausea-inducing way — thus creating a fitting marriage of form and content.
    • 40 Metascore
    • 42 Nick Schager
    Out of the Shadows’ barrels forward like such a rampaging beast that it decimates everything – plot, character, emotion, basic visual lucidity – in its wake.

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