For 557 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 14.9 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 45
Highest review score: 100 The Lords of Salem
Lowest review score: 0 Red Hook Black
Score distribution:
557 movie reviews
    • 65 Metascore
    • 63 Nick Schager
    Its performances are resourceful and affecting, with Chastain and Worthington in the past sequences, and Mirren and Wilkinson in the later chapters, exuding a complicated mess of responsibility, guilt, sacrifice, revenge, and regret.
    • 64 Metascore
    • 63 Nick Schager
    If its plotting can be slight, the film's restraint and earnestness help prevent it from ever tipping over into outright mawkishness, and its performances similarly avoid over-the-top histrionics.
    • 45 Metascore
    • 63 Nick Schager
    Zaldana is such a sultry and surprisingly heartfelt executioner that she often finds a way to make this by-the-numbers genre retread feel, if not fresh, then at least sporadically electric.
    • 42 Metascore
    • 63 Nick Schager
    The script leaps forward with an absurdity almost as great as Lincoln's own strength.
    • 72 Metascore
    • 63 Nick Schager
    Pablo Larraín employs ultra-widescreen cinematography for constricting close-ups and inhospitably alienating compositions that generate a nasty chill, the director keeping the army's brutality off screen to amplify a sense of oppressive malevolence.
    • 79 Metascore
    • 63 Nick Schager
    Though his film's feel is pure Iraq and Afghanistan, Fiennes doesn't push those parallels unduly, and his central performances prove clear, nuanced, and incisive.
    • 55 Metascore
    • 63 Nick Schager
    Safe's primary contribution to the burgeoning Jason-Statham-kicks-everyone's-ass subgenre is setting three of its set pieces in crowded New York City venues (a subway car, a hotel dining room, and a Chinatown nightclub) where shootouts lead to believable mass-exodus pandemonium.
    • 48 Metascore
    • 63 Nick Schager
    Luc Besson's producing career has been so geared toward lean, tough genre films that it's somewhat apt that he'd ape--or, if we're being kind, pay homage to--John Carpenter's preeminent sci-fi actioner Escape from New York with his latest, Lockout.
    • 43 Metascore
    • 63 Nick Schager
    While the Nitro Circus's many achievements are impressive, they pale in comparison to those of Knoxville and company's.
    • 77 Metascore
    • 63 Nick Schager
    The film shrewdly opts not to proffer its own hypothesis about the true reasons behind the Gibson family buying Frédéric Bourdin's story.
    • 65 Metascore
    • 63 Nick Schager
    Intimacy doesn't completely give rise to insight in this loving, if largely for-fans-only, posthumous portrait of Memphis-bred punk rocker Jay Reatard.
    • 57 Metascore
    • 63 Nick Schager
    As its titular tyrants, Spacey, Aniston, and Farrell all revel in their over-the-top noxiousness, though the latter is mysteriously given short shrift even though his performance is far and way the most novel and gonzo.
    • 87 Metascore
    • 63 Nick Schager
    J.C. Chandor creates an austere snapshot of human struggle, ingenuity, and perseverance, one that's predicated on Robert Redford's fantastic performance.
    • 76 Metascore
    • 63 Nick Schager
    A portrait of the eve of 2008's financial crisis that plays out with funereal inevitability, Margin Call loves speechifying, but the film is far more assured when lingering in the silence of its morally compromised characters.
    • 73 Metascore
    • 63 Nick Schager
    Makes a compelling case for games as not only clever hand-eye coordination exercises, but also as manifestations of their creators' emotional and philosophical viewpoints.
    • 54 Metascore
    • 63 Nick Schager
    Love is both a many-splendored and painful thing according to Love Etc., a multi-subject documentary about the various states of amour that, while never succumbing to glibness, also fails to rise above superficial geniality.
    • 56 Metascore
    • 63 Nick Schager
    If familiarity is endemic to this feel-good drama, there's nonetheless also something to be said for competent amalgamation and regurgitation of tired genre tropes.
    • 65 Metascore
    • 63 Nick Schager
    Flip-flopping traditional genre dynamics in a manner more cute than uproarious, Tucker & Dale Vs. Evil charts the Three's Company-style shenanigans that ensue when two West Virginia bumpkins cross paths with a group of camping college kids.
    • 55 Metascore
    • 60 Nick Schager
    Long Shot confirms that achieving one's goals is rarely possible without the staunch support of others.
    • 66 Metascore
    • 60 Nick Schager
    Despite occasional lapses into showy expressionistic slo-mo, Guerrero's direction demonstrates a patience and attention to emotional detail that allows the two young leads' performances to develop naturally.
    • 71 Metascore
    • 60 Nick Schager
    With both hostility and compassion, the damaged duo slowly come to understand themselves and their respective pain-a familiar path that's energized by subtle lead performances, a tactile sense of place and surprising insight into the way people connect as they help each other heal.
    • 63 Metascore
    • 60 Nick Schager
    A young boy's nonchalant attitude toward having a friend stick a loaded gun in his mouth as well as a man's numerous knife scars courtesy of his beloved wife definitely cut through the clichés about "thug life" to capture how violence is an integral, corrosive part of inner-city life.
    • 64 Metascore
    • 60 Nick Schager
    To his credit, even as his material begins spiraling into less amusing territory, Lund alleviates the growing gloom with goofball levity.
    • 62 Metascore
    • 60 Nick Schager
    The fictional filmmaker's rejection of "quirkiness" ends up, ironically, being embraced by the movie itself, but even at its most sitcomish, Karpovsky and Lowe's banter has a contentious authenticity that recognizes these industry grunts as vital and three-dimensional-no matter their nominal supporting status.
    • tbd Metascore
    • 60 Nick Schager
    A cinematic doodle whose lack of ambition is both its most charming characteristic and its most limiting one, Pictures Of Superheroes operates in an absurdist universe where everything is abstracted in the silliest ways possible.
    • 68 Metascore
    • 60 Nick Schager
    McConkey is simultaneously engaging and frustratingly superficial.
    • 49 Metascore
    • 60 Nick Schager
    Modest and affecting, it’s a portrait of the possibility of finding peace, contentment and self through both music and spirituality.
    • 55 Metascore
    • 60 Nick Schager
    Though two late plot developments are borderline-contrived, Green's direction is marked by mature dramatic and aesthetic understatement.
    • 72 Metascore
    • 60 Nick Schager
    After establishing a central parent-child relationship rife with wacko biblical undertones, the director finds nowhere to take his story except into standard vengeance territory.

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