Amy Nicholson

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For 376 reviews, this critic has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1.8 points lower than other critics. (0-100 point scale)

Amy Nicholson's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 American Ultra
Lowest review score: 0 3 Geezers!
Score distribution:
  1. Negative: 43 out of 376
376 movie reviews
    • 62 Metascore
    • 70 Amy Nicholson
    Åkerlund’s music videos established him as a whiz-bang technician, a skill he only unleashes in two terrifying montages. Lords of Chaos proves that he can also get great performances out of a young cast, especially Kilmer’s otherworldly Dead.
    • 66 Metascore
    • 70 Amy Nicholson
    306 Hollywood is best when it gets either very scientifically dry, or reaches beyond its liminal cuteness into ambitious visual poetry.
    • 63 Metascore
    • 50 Amy Nicholson
    Even at its most suspenseful, when Jed Kurzel’s cello score stabs at the eardrums, Overlord feels familiar, a collage of cinematic nightmares checking off its influences.
    • 67 Metascore
    • 70 Amy Nicholson
    The film feels a lot like the Serge Gainsbourg number that Stephanie dances to in the kitchen: jazzy, a little sleazy, and worth a cult following.
    • 60 Metascore
    • 60 Amy Nicholson
    Sierra Burgess is a Loser is a slumber-party charmer that wants to satisfy every craving, even when what audiences are hungry for clashes, like pouring a chocolate milkshake over a pepperoni pizza.
    • 60 Metascore
    • 60 Amy Nicholson
    None of the sizzle is as compelling as this character study of a young woman who confesses that her only childhood companion was the TV.
    • 46 Metascore
    • 50 Amy Nicholson
    Destination Wedding barely holds together as a coherent film. It’s too callous for coos, too chipper to examine the dark corners of the soul. Yet it works as a valentine to old-fashioned star power — two modern legends, older if no wiser, daring the audience to somehow love them for all their faults, and on that level, somehow succeeding.
    • 41 Metascore
    • 40 Amy Nicholson
    As a debut film, Arizona shows that Watson could become a director with interesting ideas, but this housing crisis horror comedy is definitely just a rental.
    • 67 Metascore
    • 70 Amy Nicholson
    Its refractory tone, both deadpan and swoony, announces that the first-time feature directors have a phenomenal eye for character (which is something those who’ve been watching Marks’ work as an actress may already have realized).
    • 61 Metascore
    • 50 Amy Nicholson
    With the right script, this trio could make a fantastic flick. Forget these “spectacular” men. These flawed women are plenty.
    • 56 Metascore
    • 80 Amy Nicholson
    Tag
    Surprisingly, there’s emotional resonance in this slapstick flick about friends who are terrified to hug. Add that to the solid chemistry between the leads, and Tag is a fine callback to the sprawling ensemble comedies of the 1980s, back when the real-life tag team graduated high school. It’s a solid summer film that will melt away from memory by fall.
    • 60 Metascore
    • 50 Amy Nicholson
    The movie doesn’t feel like it’s going anywhere until it explodes, and the dazzling fireworks don’t quite offset its long, seemingly aimless fuse.
    • 56 Metascore
    • 60 Amy Nicholson
    Loose-kneed, sloppy, and powered by charisma, this hangout flick doesn’t just embrace gross-out girl comedy cliches, it sticks Jacobs in the air roof of a limousine screaming, “Whooo! I am a total cliché right now and I don’t f–king care!”
    • 46 Metascore
    • 70 Amy Nicholson
    This is a heartier celebration of McCarthy’s talents, a mash note to a comic who can also play flirtatious, empathetic, and human. She’s believable, even if the scenes setting-off her performance aren’t.
    • 45 Metascore
    • 40 Amy Nicholson
    Compared to Rampage, King Kong and Godzilla have James Brown levels of soul. Peyton has just made another movie about the Rock running through rubble.
    • 69 Metascore
    • 75 Amy Nicholson
    The film adores Cena’s sentimental brute who has hams for calves and kitten GIFs for brains.
    • 68 Metascore
    • 70 Amy Nicholson
    Emanuelle manages to make us care about this bullying girl without pleading for sympathy.
    • 85 Metascore
    • 70 Amy Nicholson
    Neville’s fantastic archival footage reveals the man through his work — or at least, it reveals his philosophies, if not the childhood memories that gave Rogers the ability to understand a four-year-old’s brain, almost as if he still carried his in his cardigan pocket.
    • 85 Metascore
    • 90 Amy Nicholson
    Hall’s performance — tender, tough, empathetic, controlled — crumples from tears to laughter in a blink. It’s phenomenal.
    • tbd Metascore
    • 90 Amy Nicholson
    If the film has a flaw, its that it’s so preoccupied with balancing its furious feminism with gags about Victorian life that there’s little running time to lavish on Dickinson’s actual poetry.
    • 52 Metascore
    • 50 Amy Nicholson
    The film only feigns at analysis. It’s as naïve about love as Blake herself, who skips through the world like a temperamental child.
    • tbd Metascore
    • 90 Amy Nicholson
    Jinn is the rare coming-of-age story that doesn’t simply pat kids on the head and tell them they just need to love themselves. Instead, Mu’min holds her characters accountable for the way they discombobulate each other’s lives, while giving them the space to do better, if they can figure out what better is.
    • 60 Metascore
    • 50 Amy Nicholson
    Ultimately, Fast Color’s thesis is more inspirational than the film, which often seems like it, too, is struggling to swirl itself into something more solid. Instead, its magical sparks don’t quite congeal as the audience can’t help hoping a movie this empathetic and unusual reaches transcendence
    • 53 Metascore
    • 60 Amy Nicholson
    "Dark Web” skates by on saturated nastiness, one terrific kill, and the audience’s engagement in seeing if the filmmakers can pull off the stunt. Barely, but it’s fun to watch them try.
    • 72 Metascore
    • 80 Amy Nicholson
    RBG
    This spry celebration reveals that the real Ginsburg is neither beast nor badass, but an even-tempered, soft-spoken mediator—not typically the traits that inspire rousing high-fives, but qualities that honor the slow, uphill slog of positive change.
    • 53 Metascore
    • 70 Amy Nicholson
    Director Francis Lawrence drains the pleasure out of seeing a pretty girl in her panties. He refuses to let us leer at Jennifer Lawrence’s long legs without a jab of shame. What’s left is cold and perverse, heat provided only by the satisfying ways Dominika out-thinks the creeps while pretending to be their “magic pussy.”
    • 35 Metascore
    • 50 Amy Nicholson
    It manages to be both bizarre and boring. While I admire Jones’ inventive details...the film simply looks cheap.
    • 49 Metascore
    • 50 Amy Nicholson
    Half Magic is hobbled by a debut director’s desire to be liked. But Graham’s passion is sincere, even if her tone and rushed pace — the byproduct of cramming in every idea in case she doesn’t get a second chance — teeters on sitcom.
    • 62 Metascore
    • 80 Amy Nicholson
    Permission is a small story made with big performances from leads Stevens and Hall, and while it hasn’t gotten the promotional push for audiences to pay attention, people lucky enough to stumble across it will fall for everyone involved, and commit to keeping tabs on Crano’s career.
    • 29 Metascore
    • 42 Amy Nicholson
    Bright has brief jolts of life.

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