For 794 reviews, this critic has graded:
  • 29% higher than the average critic
  • 4% same as the average critic
  • 67% lower than the average critic
On average, this critic grades 15.8 points lower than other critics. (0-100 point scale)

Nick Schager's Scores

  • Movies
  • TV
Average review score: 48
Highest review score: 100 The Act of Killing
Lowest review score: 0 Golf in the Kingdom
Score distribution:
794 movie reviews
    • 57 Metascore
    • 50 Nick Schager
    Dubbed “a documentary about a fairytale,” Manchevski’s film leaps around in time before eventually indulging in some magic realism, but it’s most compelling when simply fixating on Rashad, who makes Bikini at once wounded and tough, conniving and kind, desperate and volatile.
    • 51 Metascore
    • 40 Nick Schager
    The Song of Sway Lake never finds a thematic center around which to pivot its action.
    • 53 Metascore
    • 10 Nick Schager
    From the get-go, Levinson makes every wrongheaded directorial decision imaginable in an apparent effort to make one loathe Assassination Nation—and his success in that regard proves this teensploitation schlock’s lone triumph.
    • 61 Metascore
    • 50 Nick Schager
    With access to only one side of its central conflict, and a scattershot approach that skims over key details and points of interest, this well-intentioned documentary leaves audiences feeling like they’re only getting part of a much larger story.
    • 68 Metascore
    • 70 Nick Schager
    Inventing Tomorrow won’t win points for originality, but this snapshot of adolescent ingenuity and innovation, premiering at the Sundance Film Festival, nonetheless proves equally entertaining and inspiring.
    • 87 Metascore
    • 100 Nick Schager
    It’s an investigation into memory, intolerance, corporate-labor conflicts and race relations that’s as audacious as it is timely — and further confirms that director Robert Greene is one of America’s finest new voices in nonfiction.
    • 50 Metascore
    • 67 Nick Schager
    A Whale of a Tale only skims the surface of the many matters it raises, be it cultural imperialism, tradition, animal rights and socioeconomic necessities. Still, its objective approach, and subtle plea for middle-ground compromise, makes it a worthwhile addendum to Psihoyos’ celebrated predecessor.
    • 71 Metascore
    • 100 Nick Schager
    Affording viewers a trip to the Chilean desert to gaze up at the crystal-clear sky, Cielo is a rapturous act of cinematic contemplation.
    • tbd Metascore
    • 30 Nick Schager
    Broken Star is a thriller interested in voyeurism, the camera’s affect on both subject and photographer, and the tangled relationship between art and artist, fiction and reality. What it’s not, however, is capable of processing those ideas in a manner that might be compelling, much less thrilling.
    • tbd Metascore
    • 30 Nick Schager
    Robert Scott Wildes’ directorial debut is the sort of out-of-control whatsit that spins about like a decapitated chicken in its spastic death throes.
    • tbd Metascore
    • 30 Nick Schager
    A time-traveler becomes fragmented in disastrous ways, and so too does the film itself, in “7 Splinters in Time,” edited to ribbons in a schizoid manner that likely only makes complete sense to its maker.
    • 65 Metascore
    • 70 Nick Schager
    Radiating not only paternal devotion but also a blunt matter-of-factness that amplifies as his situation becomes more dire, Freeman’s empathetic turn makes Andy an endearing center of attention, and the film — even for those who’ve seen its source material — a heartfelt entry in the overstuffed genre.
    • 31 Metascore
    • 40 Nick Schager
    Think of it as “Miss Congeniality” for dogs, replete with the sort of slapstick humor, puerile gags and for-adults-only pop-culture references required of such endeavors. Its frantic pace should make it a mildly amusing diversion for the younger set, but its juvenile imagination (or lack thereof) is likely to drive anyone over the age of 7 barking mad.
    • 60 Metascore
    • 50 Nick Schager
    Though the film’s heart is in the right place, writer Timothy McNeil’s directorial debut (an adaptation of his play) hits so many familiar notes that it undercuts its compassionate lead performances, in the process rendering it merely a superficial tale of unlikely amour.
    • 52 Metascore
    • 70 Nick Schager
    Aided by Christopher Blauvelt’s sumptuous cinematography, this consistently surprising film slinks along with melancholic dreaminess, matching the fugue state that plagues its grief-stricken protagonist.
    • 59 Metascore
    • 80 Nick Schager
    The portrait it paints is sure to confound and infuriate in equal measure. Far from simply a snapshot of a discussion about race, Brownson’s documentary is a riveting account of self-sabotage, misplaced priorities, and obstinacy run amok.
    • 44 Metascore
    • 40 Nick Schager
    The material comes across as too far-fetched to be taken seriously, and too bland to elicit laughs.
    • tbd Metascore
    • 80 Nick Schager
    Unavoidably, this sequel is, for all its majestic beauty, somewhat less awe-inspiring than its revelatory predecessor. Once again boasting narration from Morgan Freeman, the doc has a gracefulness and understated profundity that’ll naturally appeal to those who loved the first film.
    • 44 Metascore
    • 30 Nick Schager
    Pacific Rim Uprising delivers plentiful CG mayhem.... What it lacks, though, is both del Toro’s trademark Lovecraftian imagery (all slick tentacles and dank subterranean locales) and the sense of thunderous heft that the Mexican auteur bestowed upon his titans.
    • 31 Metascore
    • 30 Nick Schager
    While eschewing genre formula is admirable, England’s tack proves enervating, since Hank and Josie generally feel like archetypes devoid of purpose.
    • tbd Metascore
    • 30 Nick Schager
    When the jokes don’t actually materialize (or land), the proceedings become bogged down in drama that the film’s one-dimensional characters can’t sustain.
    • tbd Metascore
    • 40 Nick Schager
    Its first draft-grade script lacks the absurdity necessary to elicit laughs, or the depth that might make it moving. Caught between its competing urges, it merely squanders its accomplished leads Tessa Thompson and Melissa Leo in a listless purgatory.
    • tbd Metascore
    • 50 Nick Schager
    The doc is all talk and little action, with most of the first hour of this 75-minute pic focused on DiMaggio chatting about the good old days, as well as his stand-up plans and what tonal approach he should take — the nuances of crafting a set — rather than genuinely working toward those goals.
    • 63 Metascore
    • 70 Nick Schager
    Even when the film’s eccentricities feel too choreographed, it manages to deliver its preordained uplift with good-humored charm.
    • 70 Metascore
    • 80 Nick Schager
    [Geoghegan] allows his film’s message about intolerance and oppression to emanate naturally from the action, thereby letting the proceedings gradually transform into a revisionist fantasy of defiance, expulsion and vengeance.
    • 34 Metascore
    • 30 Nick Schager
    Gugu Mbatha-Raw is a charming actress who radiates poise and intelligence, which is why Irreplaceable You — in which her character acts in ways that are clearly self-destructive and counterproductive — rings so false.
    • 54 Metascore
    • 30 Nick Schager
    Like James’ direction, full of off-center and oddly angled compositions that aren’t warranted by the action, Entanglement dresses up familiar romantic-comedy themes with affected gimmicks to jumbled ends.
    • 60 Metascore
    • 60 Nick Schager
    The film’s lack of a traditional narrative will no doubt alienate many, but for the more adventurous, it offers a uniquely weird take on loneliness and lunacy.
    • 49 Metascore
    • 30 Nick Schager
    Pleasant in the blandest sense of the term, writer-director Pavan Moondi’s film likely won’t entice anyone outside die-hard fans of cult-comic co-star Tim Heidecker.
    • 37 Metascore
    • 30 Nick Schager
    Devoid of characters or a story about which one might care, Psychopaths proves to be a fright-free pastiche without purpose — save, that is, for unimaginatively paying homage to a string of superior genre predecessors.

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