Chris Nashawaty

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For 544 reviews, this critic has graded:
  • 67% higher than the average critic
  • 2% same as the average critic
  • 31% lower than the average critic
On average, this critic grades 7.5 points higher than other critics. (0-100 point scale)

Chris Nashawaty's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Hell or High Water
Lowest review score: 0 Accidental Love
Score distribution:
  1. Negative: 16 out of 544
544 movie reviews
    • 81 Metascore
    • 83 Chris Nashawaty
    Wildlife is confident and patient and mature. It may be a small film, but its power is massive. Especially its very last shot, which is so devastating it has the force of a sucker punch.
    • 73 Metascore
    • 67 Chris Nashawaty
    While it’s loaded with excellent ensemble performances and flashes of real poignancy, it can’t seem to help itself from occasionally jack-knifing into heavy-handed wrong turns that can play as clichéd or phony. It’s half of a great movie.
    • 62 Metascore
    • 67 Chris Nashawaty
    Netflix feels like a proper home for a film this idiosyncratic. After all, you’ll know within 30 minutes stumbling onto it whether you want to keep following its unsettling descent into blood-soaked madness or pick up your remote and head over to the relatively sunnier and safer comforts of "Broadchurch."
    • 69 Metascore
    • 67 Chris Nashawaty
    Taken together, the film is kaleidoscopic, sober, and also a bit glib. 22 July is exceptionally choreographed and tough to sit through, but it also leaves an uneasy, bitter aftertaste knowing that the movie is probably exactly the kind of continued attention a deranged narcissist like Breivik would have wanted.
    • 64 Metascore
    • 75 Chris Nashawaty
    Everett’s utterly fantastic performance as Wilde slightly exceeds his grasp as a first-time filmmaker.
    • 71 Metascore
    • 83 Chris Nashawaty
    One of the great surprises of Matt Tyrnauer’s giddy glitterbomb of a documentary about New York’s infamously Caligulan Me Decade hot spot is discovering how much of our culture (the drugs, the music, the sexual liberation) is wrapped up in one nightclub that existed for a mere 33 months.
    • 69 Metascore
    • 91 Chris Nashawaty
    In The Great Buster, Bogdanovich has provided a brilliantly enthralling primer.
    • 83 Metascore
    • 91 Chris Nashawaty
    It’s about perseverance, compassion, and empathy.
    • 35 Metascore
    • 58 Chris Nashawaty
    Venom isn’t quite bad, but it’s not exactly good either. It’s noncommittally mediocre and, as a result, forgettable. It just sort of sits there, beating you numb, unsure of whether it wants to be a comic-book movie or put the whole idea of comic-book movies in its crosshairs.
    • 65 Metascore
    • 75 Chris Nashawaty
    Despite its Irish setting, Black ’47 feels more than anything like an American Western, what with its shades-of-grey morality and almost Biblical quest for payback. Like Clint Eastwood’s Bill Munny in "Unforgiven" or John Wayne’s Ethan Edwards in "The Searchers," Martin is a silent avenger pushed to do things he doesn’t want to do but also can’t ignore.
    • 83 Metascore
    • 91 Chris Nashawaty
    In the end, the answer may be only slightly deeper than “because it’s there”, but for 100 nerve-racking minutes, Free Solo brings us one man’s suicidal quest with sympathy, grace, and a ton of adrenalin.
    • 74 Metascore
    • 83 Chris Nashawaty
    Love, Gilda is penetrating, painful, and personal.
    • 57 Metascore
    • 67 Chris Nashawaty
    Black, no surprise, steals the show, manically hamming it up like Harry Houdini on laughing gas, while Roth tries to keep the breakneck pace of his phantasmagoria going. As someone who was growing bored with Roth’s gory shockfests, I say: “Welcome to the kiddie table, Eli.”
    • 59 Metascore
    • 75 Chris Nashawaty
    What sets it a notch or two above rote familiarity is its cast, featuring a charismatic, white trash-with-a-heart-of-gold turn from a mulletted Matthew McConaughey and a naturalistically low-key performance from newcomer Richie Merritt.
    • 60 Metascore
    • 50 Chris Nashawaty
    By the time the climactic act of violence finally arrives, there’s barely enough patience left in the viewer to feel any real sense of catharsis or liberation. Just exhaustion.
    • 82 Metascore
    • 91 Chris Nashawaty
    It’s a fully immersive experience that begs to be anchored by someone who’s lit from within by blinding neon, but who also, amidst all of the nutty squalls of genre scuzz can still wear his broken heart on his sleeve. And, these days, that list is a short one. In fact, there’s really only one name on it. Thankfully, Cosmatos found him.
    • 48 Metascore
    • 42 Chris Nashawaty
    The Predator isn’t a dumb movie exactly. But it’s not a smart one either. What it is, is something uncomfortably in between: a satire of a franchise that was already in on its own macho joke.
    • 96 Metascore
    • 100 Chris Nashawaty
    Experiencing the lovely and lyrical Roma, you get the impression that at age 56, Cuarón not only wanted to get these still-vivid memories down on film, but that he also needed to. You’ll be glad he did. Because movies with this much empathy and humanity don’t come along very often.
    • 72 Metascore
    • 83 Chris Nashawaty
    Hal
    Hal gives us a lot to take in, whether you’re an aficionado or new to Ashby’s work. Scott has done movie fans a real service. She’s finally given an under-sung filmmaking giant his well-deserved close-up at long last.
    • 87 Metascore
    • 75 Chris Nashawaty
    There’s no denying that Bisbee ’17 has some moments of deep elegiac power or, for that matter, that Greene’s ambition is boundless. But by the end, I often felt like his blurring of the past and the present was an experiment that was easier to admire than be swept up by.
    • 79 Metascore
    • 83 Chris Nashawaty
    The film is fizzy, lightweight fun with some real moments of genuine heart.
    • 91 Metascore
    • 100 Chris Nashawaty
    This couldn’t be further from the corsets and curtsies of your typical Hollywood prestige period piece. It’s more like "All About Eve" directed by a Satyricon-era Fellini all hopped up with enough sex, deviance, hypocrisy, decadence, and spicy profanity to make your average Masterpiece Theatre patron reach into their PBS tote bag for some smelling salts.
    • 84 Metascore
    • 91 Chris Nashawaty
    It’s very much its own thing – part harrowing and exhilarating space epic on a grand canvas and part intimate character study in miniature. And while both of those elements are stunning, especially when you consider just how early Chazelle is in his career as a director, the character sections are slightly less successful.
    • 35 Metascore
    • 0 Chris Nashawaty
    Kin
    Kin is a movie about a child with an all-powerful firearm that makes him feel important and special and powerful. On a one-to-ten scale of moral fecklessness, this ranks about a thousand.
    • 27 Metascore
    • 58 Chris Nashawaty
    There are a few spiky moments of sick, WTF fun (a bout of rough sex that ends with a Silly String climax; the first time a puppet drops an F-bomb), but mostly it feels like a promising idea poorly executed.
    • 58 Metascore
    • 83 Chris Nashawaty
    It’s the psychological duel between the terrific Isaac and Kingsley as captor and prisoner that delivers the film’s most charged jolts of electricity.
    • 52 Metascore
    • 50 Chris Nashawaty
    As for the new Papillon, it wisely doubles down on high adventure, but it’s still as lifeless as its predecessor. Just in different ways.
    • 93 Metascore
    • 91 Chris Nashawaty
    It’s heartbreaking, raw, and true. But it never veers into exploitation or becomes oppressively maudlin.
    • 76 Metascore
    • 83 Chris Nashawaty
    Blaze isn’t a flashy movie, which seems about right since Hawke’s closest mentors and collaborators (Richard Linklater, for example) aren’t known for their look-at-me personalities. Like the real-life Foley, they’re storytellers and yarn spinners first and foremost, fame and fortune be damned.
    • 64 Metascore
    • 75 Chris Nashawaty
    A lightweight teen rom-com that isn’t likely to clear up anyone’s grasp of what the studio stands for, but it is breezy and charming enough to merit a watch contingent on reasonable expectations.

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