Chris Nashawaty

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For 590 reviews, this critic has graded:
  • 68% higher than the average critic
  • 1% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 7.4 points higher than other critics. (0-100 point scale)

Chris Nashawaty's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Chinatown
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Negative: 16 out of 590
590 movie reviews
    • 34 Metascore
    • 75 Chris Nashawaty
    It’s cartoonish, fast-paced, a bit cheesy, and ridiculously dumb fun.
    • 43 Metascore
    • 58 Chris Nashawaty
    Sadly, director James Kent’s sappy and utterly unconvincing new film The Aftermath shows that even the most foolproof ideas wither in the face of turgid, overripe melodrama.
    • 59 Metascore
    • 75 Chris Nashawaty
    The Highwaymen is a leisurely ride with a pair of actors who know how to do a lot by not doing too much. It won’t reinvent cinema the way that "Bonnie and Clyde" once did. But it’s a ride worth taking nonetheless.
    • 52 Metascore
    • 67 Chris Nashawaty
    Yardie is a sprawling drug-world saga, but whatever narrative flaws it has are helped out by an infectious selection of dub-heavy reggae tracks and an authentically gritty sense of period and place.
    • 53 Metascore
    • 67 Chris Nashawaty
    It’s just another three-hankie teen weepie, albeit one with the saving grace of another excellent Haley Lu Richardson performance that gooses the film just past serviceable into the realm of slightly better than average.
    • 90 Metascore
    • 100 Chris Nashawaty
    The NASA mission at the heart of the must-see documentary Apollo 11 reminds you what it feels to be truly awestruck.
    • 61 Metascore
    • 75 Chris Nashawaty
    There may be no honor among thieves, but Triple Frontier certainly makes watching them pretty entertaining.
    • 83 Metascore
    • 83 Chris Nashawaty
    Petzold walks the tricky tightrope of being both timeless and timely, the performances (especially those of Rogowski and Beer) are chillingly good, and the ambiguous final shot is damn near perfect. In Transit, the past is prologue… and it’s devastating.
    • 67 Metascore
    • 42 Chris Nashawaty
    Is it possible to be an enfant terrible when you’re 55? Unrepentant French provocateur Gaspar Noé pushes that question (and your buttons) to the breaking point with his latest transgressive import, Climax.
    • 70 Metascore
    • 91 Chris Nashawaty
    Thanks to two pitch-perfect performances, Paddleton is bittersweet and poignant beyond words.
    • 75 Metascore
    • 67 Chris Nashawaty
    It’s a triumph of style over substance. But what style!
    • 57 Metascore
    • 50 Chris Nashawaty
    Look, no one is expecting much from a movie called Happy Death Day 2U. Certainly not air-tight logic. But this chapter feels phoned in. And unless you’re really, really desperate for a new horror movie to check out, you might want to think twice about accepting the charges.
    • 68 Metascore
    • 91 Chris Nashawaty
    If there’s one nit to pick with Everybody Knows, it’s that Farhadi’s films, as excellent as they are, are starting to feel a bit same-y. He’s plying the same family-in-crisis formula he’s worked before. That formula still works like gangbusters, but it’s becoming a formula nonetheless: Happiness and community curdle into paranoia and suspicion.
    • 78 Metascore
    • 58 Chris Nashawaty
    Written by Oscar-winning Moonlight screenwriter Tarell Alvin McCraney, the new film feels stagey, confusing, and didactically obvious. You can tell that it was written by a playwright (which McCraney was and is).
    • 63 Metascore
    • 67 Chris Nashawaty
    Clocking in at a lean and very mean 81 minutes, writer-director Nicolas Pesce’s follow-up to his grim 2016 black-and-white arthouse chiller "The Eyes of My Mother" is a sick-joke psychological cat-and-mouse game with just enough twists to keep you on your toes.
    • 57 Metascore
    • 83 Chris Nashawaty
    It knows exactly what kind of movie it is, but that doesn’t stand in the way of it goosing its bloodbath set pieces with irreverent, off-kilter gallows humor.
    • 65 Metascore
    • 75 Chris Nashawaty
    As entertaining as The Lego Movie 2 ends up being — and let’s be clear, it’s still better than 99 percent of its competition — there’s something missing: that white-hot spark of insane creativity and out-of-the-box novelty that made the first Lego Movie such an unexpected, revolutionary surprise. Everything is still awesome. Just a little bit less so.
    • 37 Metascore
    • 50 Chris Nashawaty
    It wants to be trashy, pulpy fun that toys with your mind and your expectations. Sadly, it just ends up insulting both.
    • 51 Metascore
    • 50 Chris Nashawaty
    The twists in Close aren’t very twisty and its thrills aren’t particularly thrilling. But if watching women getting smacked around by cartoon bad guys before finally getting payback is your thing, by all means, have at it.
    • 50 Metascore
    • 67 Chris Nashawaty
    Heartwarming, mildly funny, and occasionally thrilling without ever being anything more than just fine.
    • 42 Metascore
    • 58 Chris Nashawaty
    Yes, it’s easy to be impressed by the world that Shyamalan has created and now fleshed out, but it would be nice if we were also moved to feel something too. In the end, Glass is more half empty than half full.
    • 75 Metascore
    • 75 Chris Nashawaty
    The reason that this old-fashioned movie works as well as it does is the transformative commitment of its two leads. They’re both clowns crying on the inside, who, despite years of resentment, know they’re more than partners; they’re uneasy soul mates stuck in one last “fine mess” together.
    • 90 Metascore
    • 83 Chris Nashawaty
    Director Pawel Pawlikowski’s Cold War resembles a waking dream. And a ravishingly romantic one at that.
    • 40 Metascore
    • 50 Chris Nashawaty
    If Marwencol made your heart go out to Mark, Welcome to Marwen does something quite different. It makes you want to back away from him slowly.
    • 75 Metascore
    • 83 Chris Nashawaty
    For all of its brutal, raw force, Labaki’s excellent film is tough sledding — a sucker punch that lands with the emotional force of Dickens relocated to the slums of the modern-day Middle East. It leaves a bruise.
    • 58 Metascore
    • 75 Chris Nashawaty
    The Mule fits the 88-year-old Eastwood perfectly. Not just because there probably aren’t many roles for actors of his age out there, but also because its lack of judgment makes sense for a star who’s always been as willing to play anti-heroes as heroes.
    • 55 Metascore
    • 42 Chris Nashawaty
    Wan, a director who’s proven himself to be a can’t-miss ace regardless of genre (from the horror formulas of The Conjuring and Insidious to the big-budget tentpole mayhem of Furious 7) seems to finally be out of his depth. He’s conjured an intriguing world, but populated that world with dramatic cotton candy and silly characters, including a hero who’s unsure if he wants to make us laugh or feel — and winds up doing neither. Pass the Dramamine.
    • 44 Metascore
    • 58 Chris Nashawaty
    Despite all of the film’s retro-future eye candy, it never quite sweeps you out of your seat and transports you someplace new. It’s a squeaky salvage job that could have used a fresh dose of oil to make it hum.
    • 68 Metascore
    • 50 Chris Nashawaty
    Corbet doesn’t seem as interested in the answers to the provocatively glib questions he raises as he is in creating a cynical riddle cloaked in style. No doubt some will find all of this to be a deep meditation on the pop-industrial complex, but from where I was sitting, it just felt like empty camp.
    • 66 Metascore
    • 83 Chris Nashawaty
    Creed II slavishly follows the sentimental-palooka Rocky template as if it were a sacred text. Still, it doesn’t make those old rope-a-dope tropes any less effective.

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