For 577 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 15.4 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 100 The Act of Killing
Lowest review score: 0 Vampires Suck
Score distribution:
577 movie reviews
    • 74 Metascore
    • 38 Nick Schager
    Tim Burton's sense of playfulness feels forced throughout, and as the film progresses, any humor or inventiveness takes a backseat to tumultuous set pieces that reference Frankenstein.
    • 72 Metascore
    • 38 Nick Schager
    Doesn't waste a moment on recognizable reality, consumed as it is with checking off various items from its list of clichés.
    • 72 Metascore
    • 30 Nick Schager
    A film that's all airy, abstract pretentiousness.
    • 71 Metascore
    • 12 Nick Schager
    Is Josh "Skreech" Sandoval the least deserving documentary subject ever?
    • 64 Metascore
    • 38 Nick Schager
    Morgan Spurlock has little to say about Comic-Con other than that its attendees value it on a par with Christmas.
    • 64 Metascore
    • 25 Nick Schager
    A second-rate dude comedy in which an untalented knucklehead becomes a star through brute violence.
    • 64 Metascore
    • 38 Nick Schager
    Can't mask that, at heart, it's merely a trifling tour documentary that gives further excessive attention to the late-night star's 2010 ouster as The Tonight Show host.
    • 64 Metascore
    • 38 Nick Schager
    The Hedgehog ultimately illuminates only the continued lameness of employing out-of-leftfield tragedy for cheap bathos.
    • 63 Metascore
    • 20 Nick Schager
    It’s a film that’s about as funny and/or scary as a lump of sod.
    • 63 Metascore
    • 12 Nick Schager
    The film's interests are mainly relegated to wallowing in the frigid-starvation-suffering of its protagonists.
    • 62 Metascore
    • 25 Nick Schager
    Ted
    Seth MacFarlane's comedic modus operandi is to shock with outrageousness and pander with TV and movie citations via one non sequitur after another, a strategy that leads to a few laughs but nothing approaching lasting humor.
    • 61 Metascore
    • 38 Nick Schager
    A slice of slight character-driven conventionality in which directorial sensitivity and drama rooted in tense conversations and intermittent blow-ups prove incapable of imparting depth to a tale that plays like a series of simplistic stock gestures.
    • 61 Metascore
    • 38 Nick Schager
    Blackthorn's last-man-standing circumstances, far from a cautionary tale about the cost of the gunslinger life, are glorified as the height of macho nobility.
    • 60 Metascore
    • 38 Nick Schager
    The icy fatalism of film noir is turned to slush by Thin Ice, a crime saga that reduces its chosen genre to a series of atonal, old-hat clichés.
    • 58 Metascore
    • 25 Nick Schager
    Far more concerned with pratfalling animal shenanigans and unearned uplift than crafting a single complex or amusing moment, it's a film caged in by formulaic plotting and plentiful pap.
    • 57 Metascore
    • 38 Nick Schager
    The Tickells' style is a predictable grab bag of interviews with outraged experts and journalists, TV news footage, and scenes in which the filmmakers (and, during one trip, fellow activists Peter Fonda and Amy Smart) make faux-daring journeys into the fray to bring back supposed realities that corporate America seeks to hide.
    • 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.
    • 57 Metascore
    • 38 Nick Schager
    Shut Up Little Man! fails to legitimize its topic as one of any significance.
    • 56 Metascore
    • 25 Nick Schager
    Though it boasts its fair share of shots that approximate the turtle's first-person point of view, the film's most dominant presence is its heavy-handed maker.
    • 56 Metascore
    • 38 Nick Schager
    By wholeheartedly taking its main character's side instead of complicating or censuring his homicidal vigilante crusade, it proves inanely one-note and preachy.
    • 56 Metascore
    • 30 Nick Schager
    Intentions and effect are at odds throughout Jorge Hinojosa's one-note documentary.
    • 55 Metascore
    • 33 Nick Schager
    From fawning beginning to maudlin close, it’s a monotonous, wannabe-mythmaking biopic for Ip completists only.
    • 55 Metascore
    • 38 Nick Schager
    Sex and love are both novel experiences for two high schoolers in this talky affair that suggests a hybrid of Before Sunset and Some Kind of Wonderful.
    • 54 Metascore
    • 38 Nick Schager
    From overwrought flashbacks of Third Master and Madame Kang's initial meetings (and sexual encounter), to the present-day arguments and maneuverings of Lord Kang, Empire of Silver is so determined to stage its material with reverence that it embalms any flickers of passion or tension.
    • 54 Metascore
    • 38 Nick Schager
    Ben Stiller's aesthetics blend overly manicured imagery with soaring rock songs that underline every emotion, lest the film's corporate logo-driven message-making didn't get the point across clearly enough.
    • 54 Metascore
    • 30 Nick Schager
    Maudlin and mirthless, it's a film misbegotten enough to almost make one hate Christmas.
    • 54 Metascore
    • 30 Nick Schager
    Kid Cannabis presents its material not as cautionary tale but as celebratory fantasy — which, like Nate's mom turning a blind eye to her son's illegal operation, seems to be the by-product of either inanity or excessive THC.
    • 54 Metascore
    • 30 Nick Schager
    Avoiding the genre's typical werewolfism-as-puberty metaphors, director Jonas Alexander Arnby instead casts his material as a drawn-out character study — the problem being that his characters are all one-note dullards, which turns his slow, portent-heavy drama into a giant slog.
    • 54 Metascore
    • 38 Nick Schager
    Michael J. Weithorn's direction underlined its understatement via self-consciously patient camerawork and a doleful score, all in order to further the mournful mood.
    • 53 Metascore
    • 38 Nick Schager
    Now that Zooey Deschanel has taken a detour into TV land, is Audrey Tautou the most insufferable pixy presence in cinema today?

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