Michael Nordine

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For 205 reviews, this critic has graded:
  • 44% higher than the average critic
  • 7% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.1 points lower than other critics. (0-100 point scale)

Michael Nordine's Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Aquarius
Lowest review score: 10 108 Stitches
Score distribution:
  1. Positive: 91 out of 205
  2. Negative: 25 out of 205
205 movie reviews
    • 60 Metascore
    • 75 Michael Nordine
    Bier’s direction is coolly efficient, which fits the material to a t — anything more ostentatious would just feel wasteful.
    • 61 Metascore
    • 58 Michael Nordine
    Sagawa is disturbed and alienated, but that doesn’t make him a compelling documentary subject in and of itself. Maybe that’s the point: Demystifying Sigawa takes away some of the near-mythic power that’s been attributed to him over the years.
    • 35 Metascore
    • 75 Michael Nordine
    This leaves the viewer with two choices: reject the parasite or let it take you over. Fight it off and you’ll have a bad time; become one with it and you may achieve a kind of symbiosis.
    • 26 Metascore
    • 33 Michael Nordine
    A generous reading suggests that its vaguely feminist subtext is intentional rather than a happy accident, and to some extent it may well be, but for the most part Hell Fest simply adheres to long-established genre tropes.
    • 61 Metascore
    • 50 Michael Nordine
    It isn’t involving enough for you to ever truly care about how these many, many problems will resolve themselves, and not funny enough for the experience to be more enjoyable.
    • 38 Metascore
    • 42 Michael Nordine
    Nuestro tiempo ultimately feels like an extended couples-therapy session that we were invited to by mistake, with Reygadas playing both doctor and patient in a conflict of interest that goes unresolved.
    • 73 Metascore
    • 83 Michael Nordine
    Acclaimed filmmakers often face the challenge of big expectations on their second features, but Kent joins the ranks of sophomore filmmakers whose new movies expand on their debuts in startlingly ambitious ways.
    • 71 Metascore
    • 67 Michael Nordine
    Keaton was an ahead-of-his-time innovator, and though Bogdanovich honors that legacy he doesn’t always live up to it: You’ll leave the film knowing more about its subject than you did when you walked in, but there’s little here that feels like it couldn’t be found in one of the many other accounts of Keaton’s life and work.
    • 49 Metascore
    • 50 Michael Nordine
    If nothing else, Charlie Says succeeds in demystifying the man with a pentagram carved into his skull: He may be society’s go-to conception of evil, but he was also a drugged-out racist who wrote forgettable songs that even his acolytes probably didn’t enjoy as much as they were letting on.
    • 69 Metascore
    • 75 Michael Nordine
    Though full of anger and grief, the film is more than just a screed. Greengrass’ docu-real aesthetic doesn’t allow for grandiosity even when he gives in to more heavy-handed impulses. He’s on a soapbox at times, but his message is worth hearing.
    • 72 Metascore
    • 83 Michael Nordine
    Vox Lux is a powerful, haunting film in part because Portman is a powerful, haunting presence — you can’t turn away from her, even if you occasionally want to.
    • 72 Metascore
    • 91 Michael Nordine
    There’s sadness and beauty in every frame.
    • 58 Metascore
    • 83 Michael Nordine
    Dragged Across Concrete may be a hard movie to love, but it’s a much harder one not to respect and even admire.
    • 78 Metascore
    • 91 Michael Nordine
    Schnabel fuses form and content in a way that’s rarely attempted and even more rarely achieved; in risking the same derision with which Van Gogh was sometimes met, he transcends the limitations of the conventional biopic and creates something that feels genuinely new.
    • 88 Metascore
    • 75 Michael Nordine
    Credit to Cooper for delivering his best, most soulful performance while pulling double duty behind the camera, but it’s his co-star whose magnetism most draws you into their world — and keeps you there even when the film hits the occasional wrong note.
    • 90 Metascore
    • 91 Michael Nordine
    Lanthimos wants us to examine the different reasons we grasp at power — avarice, self-preservation, even fear — and better understand its corrosive effects.
    • 84 Metascore
    • 83 Michael Nordine
    First Man is an anti-thriller of rare intensity, with lived-in performances from Ryan Gosling and Claire Foy heightening the sky-high drama at every turn. It’s not a comprehensive look at the Apollo 11 mission, but revisits that famous story from a more intimate angle, even as it delivers a satisfying ride.
    • 83 Metascore
    • 75 Michael Nordine
    Custody begins with an air of documentary reality before evolving into a thriller so claustrophobic its climax fits inside the bathroom of a modest apartment.
    • 77 Metascore
    • 75 Michael Nordine
    And Then I Go isn’t elegiac or fatalistic, nor is it a dread-filled slog toward an inevitable conclusion.
    • 54 Metascore
    • 58 Michael Nordine
    Fuglsig’s feature debut is ultimately less an action movie and more a procedural, one in which incremental gains and minimal casualties are as much as can be hoped for.
    • 68 Metascore
    • 75 Michael Nordine
    As ever with Aardman, the cleverest moments are also the most fleeting.
    • 54 Metascore
    • 67 Michael Nordine
    The witch-hunt metaphor that emerges from Abigail’s bullying is more overt than it needs to be, but Shephard clearly didn’t rely on SparkNotes in crafting her film.
    • 39 Metascore
    • 42 Michael Nordine
    The question with a movie like Jigsaw, which was preceded by seven “Saw” movies and did not screen for press, isn’t “Is it good?” but rather “How bad is it?” The answer, dear reader, is “quite.” Jigsaw is quite bad.
    • 80 Metascore
    • 80 Michael Nordine
    Indivisible is above all else a mood piece humming with energy and marked by wondrous moments.
    • 69 Metascore
    • 83 Michael Nordine
    Kill Me Please is as much a teen movie as it is a horror movie, vacillating between the genres in such a way that you’re reminded from one scene to another how similar the two really are.
    • 52 Metascore
    • 42 Michael Nordine
    Red Christmas rarely deals in gore for gore’s sake in its early going. By the end, however, it becomes such an exercise in sensibility-testing brutality that any message about the fragility of the family unit is as murky as the cinematography.
    • 76 Metascore
    • 75 Michael Nordine
    Creepy is both a return home and a return to form.
    • 66 Metascore
    • 83 Michael Nordine
    A docudrama that in its early scenes feels like a documentary — the co-directors have a nonfiction background, and the actors are actual carnival performers — the film plays out like a small-scale fairy tale.
    • 72 Metascore
    • 83 Michael Nordine
    This is the kind of experience that might tell you more about yourself as both a viewer and a person than you’re comfortable knowing; it’s also the most alluringly strange movie of the year so far.
    • 61 Metascore
    • 75 Michael Nordine
    Set at a prestigious drama school and frequently engrossing, the film unfolds like an experimental acting workshop that occasionally falters when the plot intrudes on the performances.

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