For 630 reviews, this critic has graded:
  • 26% higher than the average critic
  • 4% same as the average critic
  • 70% lower than the average critic
On average, this critic grades 15.1 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:
630 movie reviews
    • 49 Metascore
    • 50 Nick Schager
    Texas Killing Fields's mood is one of drowning in quicksand, though said atmosphere is the byproduct of both Ami Canaan Mann's often dreamy direction and an editorial structure that intermittently devolves into elliptical incongruity.
    • 28 Metascore
    • 50 Nick Schager
    A wannabe French-style infidelity farce that keeps indulging in unnecessary bathos and subplots.
    • 49 Metascore
    • 50 Nick Schager
    Funnier than its prior two predecessors, if gratingly awash in demographic-pandering late-'90s alt-rock hits ("Closing Time," "Freshman"), American Reunion flounders with its earnest melodrama.
    • 66 Metascore
    • 50 Nick Schager
    Coupled with a failure to comprehensively detail tactical patterns or the processes of transporting or fencing stolen goods, Smash & Grab’s inability to truly get underneath the surface of its subjects renders it merely a compelling true-life tale in need of better telling.
    • 44 Metascore
    • 50 Nick Schager
    Regrettably, both the condemnation of capitalist avarice and violence and the sanctification of nature and youthful innocence are dramatized only in simplistic black-and-white terms.
    • 65 Metascore
    • 50 Nick Schager
    Since Mehran's embrace of hardline Islam is never dramatized or elaborated on in any insightful way.
    • 66 Metascore
    • 50 Nick Schager
    If not for its outsize IMAX presentation, this handsome nonfiction film would be little more than an uplifting episode of PBS's "Nature."
    • 64 Metascore
    • 50 Nick Schager
    As a director, Estevez exhibits a bland visual sense, but he does manage to convey some of his scenic locations' multifaceted textures. Mostly, though, his dramatically inert, spiritually generic The Way seems like it was far more fun to shoot than it is to endure.
    • 66 Metascore
    • 50 Nick Schager
    Short on genuine suspense and long on righteous anger, the film is bolstered by a sturdy performance by Darín that brings emotional nuance to an underwritten role.
    • 49 Metascore
    • 50 Nick Schager
    Its scenario and criminals devoid of any representational depth, and without any substantial ideas underlying its carnage, the film ultimately just assumes the sadistically pragmatic POV of its one-dimensional thugs, pitilessly doling out brutality as a practical means to an end.
    • 80 Metascore
    • 50 Nick Schager
    A poignant sense of time's unyielding forward progress and a mood of deep adolescent sorrow aren't enough to overshadow the insufferable blankness of Goodbye First Love's navel-gazing protagonists.
    • 62 Metascore
    • 50 Nick Schager
    42
    The film elevates the story of Jackie Robinson to that of cornball legend rather than just honoring his legitimately uplifting, heroic saga by telling it straight.
    • 54 Metascore
    • 50 Nick Schager
    Boasts an evocative sense of environment and the feel of working with one's hands, but otherwise rummages around in search of substance and subtlety.
    • 65 Metascore
    • 50 Nick Schager
    Ultimately, though, they never cohere into something more than a moderately engaging for-fans-only tour diary.
    • 52 Metascore
    • 50 Nick Schager
    The way the film hews to tiresome conventions is itself a buzzkill, but worse is its sheer lack of energy, as Pearlstein stages serious and/or heartfelt conversations that go on twice as long as necessary and treat the characters as more than the two-dimensional caricatures they actually are.
    • 56 Metascore
    • 50 Nick Schager
    The director’s assured tracking shots follow Nazaret through one bustling, disorienting locale after another as he searches for help, family, and relief from his hardship. Yet like the film, they’re ultimately superficial gestures that maintain a detached perspective on their subject, incapable of penetrating his traumatized mind and tormented heart.
    • 66 Metascore
    • 50 Nick Schager
    Director Declan Lowney's film operates from a conceit that affords only minor opportunities for true hilarity.
    • 60 Metascore
    • 50 Nick Schager
    Nadine Labaki's film awkwardly hybridizes somber politizized drama with regional humor in the style of "Waking Ned Devine" and "Calendar Girls."
    • 47 Metascore
    • 50 Nick Schager
    The story is a hopeless mess that from the outset seems to be missing key exposition that might help fill in some of its many gaps.
    • 45 Metascore
    • 50 Nick Schager
    Engaging and enraging but also, alas, consistently superficial.
    • 66 Metascore
    • 50 Nick Schager
    No mutation is necessary to clearly see that Marvel's "reboot" of their signature franchise is an unimaginative remake of Sam Raimi's 2002 Spider-Man.
    • 56 Metascore
    • 50 Nick Schager
    As with its protagonist, Unknown boasts tantalizing issues buried deep beneath its frantic exterior, but little idea how to unlock or address them.
    • 48 Metascore
    • 50 Nick Schager
    An alternately evocative and lumbering portrait of a multifaceted community.
    • 75 Metascore
    • 50 Nick Schager
    An Egyptian feminist tale told with both affecting compassion and made-for-TV corniness.
    • 45 Metascore
    • 50 Nick Schager
    It’s a promising premise fit for a thorny inquiry into personal and institutional priorities, and yet no sooner has Secret In Their Eyes laid its story’s groundwork than it goes off the rails
    • 54 Metascore
    • 50 Nick Schager
    A documentary -- based in part on Jian Ping's autobiographical book of the same name -- whose poignancy is lessened by its awkward formal devices.
    • 54 Metascore
    • 50 Nick Schager
    O'Nan and Weston's rapport is engagingly prickly but their "Shins meets Sesame Street" tunes have a tweeness also found in the director's music montages and lens flares. Only in its even-handed treatment of Alex's fundamentalist-Christian brother (Andrew McCarthy) does the film feel like something less than a corny cornucopia of manchildren-grow-up clichés.
    • 67 Metascore
    • 50 Nick Schager
    Escape Fire winds up feeling like only one half of a larger argument.
    • 67 Metascore
    • 50 Nick Schager
    Ridiculousness played with a straight face, the film is endearing even if it's never quite hilarious.
    • tbd Metascore
    • 50 Nick Schager
    Soling and co-director David Hilbert divide their screen into multiple visual quadrants, an aesthetic strategy that soon becomes a wearisome affectation that's barely mitigated by their refusal to romanticize the landscape or soft-pedal the hazardous hardships of Ik life.

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