Amy Nicholson

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For 775 reviews, this critic has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2.8 points lower than other critics. (0-100 point scale)

Amy Nicholson's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Frankenstein
Lowest review score: 0 Melania
Score distribution:
  1. Positive: 383 out of 775
  2. Mixed: 325 out of 775
  3. Negative: 67 out of 775
775 movie reviews
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    • 94 Metascore
    • 58 Amy Nicholson
    La La Land
    If only the script measured up to the craft. La La Land gives us no reason to root for Mia and Seb’s romance, except for its blithe assurance that you will because you loved Stone and Gosling together in Crazy, Stupid, Love.
    • 86 Metascore
    • 60 Amy Nicholson
    I Saw the TV Glow
    The film invents a new emotion: passionate ambivalence. Schoenbrun’s argument might be that this is exactly the response they’re after. They’ve accomplished it, but at the expense of engagement, resulting in a collection of leaden scenes that might make the audience want to claw out of its own skin.
    • 86 Metascore
    • 60 Amy Nicholson
    Sentimental Value
    There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.
    • 84 Metascore
    • 60 Amy Nicholson
    Are You There God? It's Me, Margaret
    This adaptation, written and directed by Kelly Fremon Craig (“The Edge of Seventeen”), seems uneasy putting funny, flawed and all-too-realistic Margaret on screen exactly as she is.
    • 67 Metascore
    • 40 Amy Nicholson
    Nancy
    Instead of exploring her actions, and the people they affect, Nancy‘s restraint keeps the film closed-off and grim, as muddy gray as the life she’s aching to ditch.
    • 84 Metascore
    • 60 Amy Nicholson
    Hamnet
    Hamnet’s sweetest note is 12-year-old Jacobi Jupe playing the actual Hamnet. The script hangs on our immediate devotion to the boy and he stands up to the challenge.
    • 82 Metascore
    • 50 Amy Nicholson
    Creed
    Creed wants all of the Rocky drama but invests in none of the smarts.
    • 44 Metascore
    • 60 Amy Nicholson
    Pain Hustlers
    The movie is constrained by its own conscience.
    • 82 Metascore
    • 60 Amy Nicholson
    Sicario
    Villeneuve's proven he's got a strong punch. The trouble is, he barely aims.
    • 66 Metascore
    • 60 Amy Nicholson
    Devotion
    As an intellectual dismantling of white savior narratives, Devotion is smartly done; as an enjoyable heartwarmer to watch with your uncle, it’s stiff when it should soar.
    • 80 Metascore
    • 50 Amy Nicholson
    Passages
    The misery unfurls in a straight timeline of dramatic scenes that leap over the lived-in moments that make up a relationship.
    • 64 Metascore
    • 60 Amy Nicholson
    Sleeping with Other People
    Headland's film might have been more engaging if it were about its supporting characters.
    • 78 Metascore
    • 60 Amy Nicholson
    The Tribe
    It's a staggering film, but not a brilliant one — a superior version would have played more with the gulf between our senses and theirs.
    • 78 Metascore
    • 60 Amy Nicholson
    The Substance
    If it weren’t for Moore and Qualley hurling themselves into the shared role, it’d be as flat as a scotch-taped pin-up. If it weren’t for Moore, I’m not even sure it would work.
    • 50 Metascore
    • 50 Amy Nicholson
    Disenchanted
    Adams doesn’t gain much by returning for Disenchanted, a cluttered and noisy sequel directed by Adam Shankman from a screenplay by Brigitte Hales. Neither does the original film’s fan base.
    • 77 Metascore
    • 50 Amy Nicholson
    The Feeling That the Time for Doing Something Has Passed
    Arnow’s sophisticated point — the one referenced in the film’s unwieldy title — is what drives interest until our own spirits snap.
    • 34 Metascore
    • 40 Amy Nicholson
    Beyond the Reach
    Madec and Ben's showdown becomes a battle to see which type of man is best equipped for survival: the well-funded scoundrel or the honest grunt. The film is too honest itself to always give us the answer we want. It's also too dully on-the-nose to entertain.
    • 41 Metascore
    • 40 Amy Nicholson
    Arizona
    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.
    • 58 Metascore
    • 50 Amy Nicholson
    A Kid Like Jake
    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.
    • 76 Metascore
    • 60 Amy Nicholson
    September 5
    Fehlbaum milks a good amount of tension out of men in headsets barking orders at their desks, although the conceit is harder to pull off once the action moves farther away and news comes in slower and slower.
    • 75 Metascore
    • 60 Amy Nicholson
    Mistress America
    Like Brooke's dream business, a café/convenience store/hair salon, Mistress America is a mishmash of ideas — fortunately, Kirke gives a fantastic performance that quietly grounds the film.
    • 75 Metascore
    • 50 Amy Nicholson
    Emily the Criminal
    Despite the fact that the camera rarely backs away from studying Plaza’s wary eyes and tense mouth in close-up, this character piece feels as distanced from its taciturn subject as if it was merely monitoring her on security camera.
    • 62 Metascore
    • 60 Amy Nicholson
    Oh, Hi!
    Brooks can merely offer this flawed pair more kindness than they grant each other (or themselves). Which makes “Oh, Hi!” a pleasant if perilous date night film. Having spent an enjoyable evening with it myself, I have to admit: I like the movie fine, but I’m not in love.
    • 54 Metascore
    • 40 Amy Nicholson
    Thor: The Dark World
    Lacking Iron Man’s wit, the Hulk’s brains, and the Captain’s ideals, he’s in peril of going poof himself if the franchise doesn’t figure out how to capitalize on its most glorious hero.
    • 75 Metascore
    • 60 Amy Nicholson
    Nimona
    Attention has been paid; it’s just not equally distributed. The tone is uneasy teetering on anarchic, veering from giddily moronic one-liners to — more shockingly — a climax with deep empathy and visual awe.
    • 75 Metascore
    • 50 Amy Nicholson
    X-Men: Days of Future Past
    Future Past starts fast and never slows down. There's not a line of dialogue that isn't exposition... What fun there is slips in through director Bryan Singer's visuals.
    • 74 Metascore
    • 50 Amy Nicholson
    Sully
    Tom Hanks is so quietly compelling that he gives the film an illusion of depth.
    • 11 Metascore
    • 50 Amy Nicholson
    Nine Lives
    Yes, Nine Lives is dumb. Yes, it’s for very young kids. Yes, Lil Bub has a cameo. And yes, I giggled anyway.
    • 74 Metascore
    • 60 Amy Nicholson
    40 Acres
    Thorne has made a resolute portrait of a woman who can’t break free of generational trauma.
    • 74 Metascore
    • 60 Amy Nicholson
    The Duke
    It is a pity that Richard Bean and Clive Coleman’s script mires Bunton in a soggy family drama about an unresolved death; an elder son (Jack Bandeira) who flirts with crime; and a wife, Dorothy (Helen Mirren, so sheepish as to be near invisible), who is humiliated that her husband prefers prison to a stable home.
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