Michael Nordine

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For 247 reviews, this critic has graded:
  • 45% higher than the average critic
  • 6% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.4 points lower than other critics. (0-100 point scale)

Michael Nordine's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Metalhead
Lowest review score: 10 108 Stitches
Score distribution:
  1. Negative: 28 out of 247
247 movie reviews
    • tbd Metascore
    • 50 Michael Nordine
    Doula ultimately comes across less as an actual comedy and more as a slice of life that’s lighthearted but also low stakes.
    • 63 Metascore
    • 60 Michael Nordine
    The movie’s ending is misguided to the point of being perplexing rather than upsetting, recasting everything that came before it in a less favorable light. That’s a shame, as this father-daughter drama starring John Cho has more than its fair share of touching moments before hitting the roadblock that is its questionable third act.
    • 51 Metascore
    • 70 Michael Nordine
    With a firm commitment to its alluringly offbeat premise and a grounding lead performance from Susanne Wuest, this indie oddity is an enjoyable descent into the absurd despite an apparent lack of interest in answering most of the questions it raises.
    • 72 Metascore
    • 80 Michael Nordine
    Few movies swap genres halfway through, and even fewer do so successfully. “Bloody Oranges” does both.
    • 30 Metascore
    • 10 Michael Nordine
    A mess from start to finish, this would-be thriller about a mother seeking vengeance (Melissa Leo) never comes close to raising the pulse but does raise more than a few eyebrows along the way.
    • 69 Metascore
    • 60 Michael Nordine
    The problem, then, is that too much of this is dispiriting without also being enlightening — the view Gallardo takes is almost that of a bird’s eye, showing much from an emotional remove but revealing little beyond surface-level horrors and characters so numb to it all that we’re left with little choice but to feel the same way.
    • 72 Metascore
    • 70 Michael Nordine
    An airy, low-key drama that doesn’t suffer for its lack of narrative tension, The Passengers of the Night further proves the old adage about the journey mattering more the destination.
    • 75 Metascore
    • 80 Michael Nordine
    Before, Now & Then moves with its own dreamy cadence, with narrative developments washing over the film like waves. Closing your eyes once it’s over, you might even experience the sensation of having been in the water all afternoon as those gentle waves lapped over you — and longing to return to them.
    • 65 Metascore
    • 30 Michael Nordine
    As difficult as it can be to tell what’s real and what’s not here, it’s even more difficult to care: “Coma” seems to have poured out of Bonello stream-of-consciousness style, and analyzing it is about as rewarding as trying to make sense of the half-remembered dream your friend won’t stop talking about.
    • 45 Metascore
    • 50 Michael Nordine
    While it wouldn’t exactly be accurate to say that Dark Glasses was worth waiting a decade for, a world in which Argento continues working till the bitter end is preferable to one in which we don’t have movies like this at all.
    • 61 Metascore
    • 50 Michael Nordine
    The result certainly isn’t fast food, but neither is it fine dining.
    • tbd Metascore
    • 60 Michael Nordine
    “Bob Spit” is most notable for its formal approach, which intermingles animated interviews of Angeli with a bizarre, at times surreal narrative featuring characters from his comic strips.
    • 59 Metascore
    • 80 Michael Nordine
    Skyler Davenport’s lead turn in director Randall Okita’s no-nonsense thriller (which debuted at the Tribeca Film Festival last summer) will be worth remembering well after the January doldrums have passed.
    • 61 Metascore
    • 70 Michael Nordine
    “Christmas” is a cut above the usual holiday dross.
    • 45 Metascore
    • 70 Michael Nordine
    While a bit of ironic detachment isn’t necessarily a hindrance, too many latter-day horror flicks’ attempts to show they’re in on the joke make it difficult to get invested in their stories. Despite initially appearing poised to repeat this too-cool-for-school mistake, “Someone” moves past it by emphasizing not vengeance but redemption.
    • 68 Metascore
    • 80 Michael Nordine
    Fear Street Part 3: 1666 isn’t just the best of the Netflix horror trilogy; it also recasts the prior two entries, “1994” and “1978,” in a more favorable light by deepening the mythology and underscoring just how crucial it is to watch all three chapters consecutively.
    • 82 Metascore
    • 80 Michael Nordine
    Pig
    As a descent into the apparently high-stakes world of truffle-pig-poaching, Pig is unexpectedly touching; as a showcase for Cage’s brilliance, it’s a revelation.
    • 61 Metascore
    • 60 Michael Nordine
    Fear Street in general and the 1978 chapter in particular are at their best when forging their own path, which makes it a shame when they’re too reluctant to walk it.
    • 38 Metascore
    • 70 Michael Nordine
    No aspect of history is off-limits here, the result being a grab bag of references, battles, and jokes that are constantly trying to one-up each other in terms of absurdity.
    • 77 Metascore
    • 80 Michael Nordine
    Shot on delightfully grainy 16mm and featuring a cast of nonprofessional actors, the film is so alluringly disorienting that, by its end, some viewers will find themselves struggling to remember how this fever dream started.
    • 42 Metascore
    • 60 Michael Nordine
    Where Edge of the World distinguishes itself is in its evocative visuals of Borneo’s unspoiled beauty (courtesy of cinematographer Jaime Feliu-Torres) and the lived-in intensity of Meyers. If the film can’t help but feel like a relic from a bygone era, that’s ultimately part of its appeal.
    • 43 Metascore
    • 55 Michael Nordine
    While it’s never actively bad, The New Mutants rarely imbues any of its happenings with any real heft. Like the remote hospital that serves as its setting, the film as a whole feels too closed off from the rest of its fictional universe to matter much.
    • 53 Metascore
    • 62 Michael Nordine
    Jonathan Jakubowicz’s drama doesn’t add as much to the beyond-crowded World War II genre as it could despite the genuinely compelling true story on which it’s based.
    • 53 Metascore
    • 56 Michael Nordine
    It feels like an attempt to transpose the mix of thrills and prestige of a film like “Argo” onto a different true story, a paint-by-numbers approach that’s far less compelling than drawing outside the lines would have been.
    • 64 Metascore
    • 55 Michael Nordine
    Come to Daddy has twists galore, not to mention a heavy dose of gore, but the further it drifts from its initial understated dynamic, the less each successive development seems to matter.
    • 45 Metascore
    • 52 Michael Nordine
    As a film, the biggest issue with A Million Little Pieces isn’t whether any of this happened; it’s that, even if it did, none of it stands out from the many similar movies that came before it.
    • 75 Metascore
    • 68 Michael Nordine
    It’s unlikely that any documentary could make us feel half as bad for the poachers as we do for their prey, which might not even be Kasbe’s aim. He succeeds in bringing shades of grey to a situation usually thought of in black-and-white terms — not enough to change many minds, perhaps, but at least enough to open some.
    • 62 Metascore
    • 64 Michael Nordine
    You’ve seen many movies like this before, which isn’t to say it doesn’t have its charms.
    • 38 Metascore
    • 37 Michael Nordine
    The whole affair feels, quite simply, icky in a way that superior projects like “Zodiac” and “Memories of Murder” never do; to his movie’s detriment, Akin seems more interested in merely depicting what happened than taking a stab at why.
    • 59 Metascore
    • 67 Michael Nordine
    This is a fun world to explore, but we’ve just barely scratched the surface by the time we’ve left it.

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