Chris Nashawaty

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Entertainment Weekly
For 641 reviews, this critic has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 5.9 points higher than other critics. (0-100 point scale)

Chris Nashawaty's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 REC
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Positive: 462 out of 641
  2. Mixed: 162 out of 641
  3. Negative: 17 out of 641
641 movie reviews
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    • 61 Metascore
    • 67 Chris Nashawaty
    The White Crow
    There’s something about the movie that makes it all feel as though it’s being presented under glass. Nureyev is more of an idea than an actual flesh and blood character. The only time The White Crow truly shoots off sparks is during its dance sequences. For those brief, beautiful moments, you can almost feel what it must have been like to witness a one-of-a-kind artist at the spellbinding height of his powers taking flight. But then the spell is broken, and the crow falls back to earth.
    • 66 Metascore
    • 67 Chris Nashawaty
    Elstree 1976
    There are some stretches of the film that are frankly a bit boring and wouldn’t be missed if they were cut.
    • 67 Metascore
    • 67 Chris Nashawaty
    Guardians of the Galaxy Vol. 2
    It’s smarter than most films, but not as smart as the first one. It’s funnier than most films, but not as funny as the first one. And it still probably belongs in the upper tier of Marvel movies but nowhere near as high up as the first one.
    • 41 Metascore
    • 67 Chris Nashawaty
    The Quiet Ones
    Aside from a few cheap but effective shocks and jumps, there's nothing here that horror fans haven't seen in better recent films like "The Conjuring." Not to mention all of those wonderful Hammer films from the '50s and '60s.
    • 66 Metascore
    • 67 Chris Nashawaty
    The Wind
    The moments that work the best are the ones where Tammi lets the pace and pulse slow down, lets the ominous wind whistle and groan, and it isn’t trying to turn The Wind into Meek’s Cutoff as interpreted by the director of Insidious.
    • 62 Metascore
    • 67 Chris Nashawaty
    Bleed for This
    With the exception of maybe two scenes, you’ve seen everything in this movie before.
    • 76 Metascore
    • 67 Chris Nashawaty
    Happy Valley
    The documentary offers a compelling overview of the case, but Bar-Lev spends too much time painting Paterno as a victim and scapegoat. That advocacy doesn't sit well.
    • 64 Metascore
    • 67 Chris Nashawaty
    Youth
    As it is, Youth is hit-and-miss, beautiful and frustrating.
    • 39 Metascore
    • 67 Chris Nashawaty
    The Runner
    The Runner is a well-meaning character study with an admirably cynical ending, but it’s too cold to ever fully draw you in.
    • 58 Metascore
    • 67 Chris Nashawaty
    Death Race 2000
    Death Race 2000 isn’t the sharp satire Corman thinks it is, but it’s fun.
    • 71 Metascore
    • 67 Chris Nashawaty
    Dogman
    Marcello may remain a mystery, but the thing that makes Dogman worth checking out is the actor who portrays him. It’s a performance that never barks too loudly, but leaves you with an unmistakable bite.
    • 53 Metascore
    • 67 Chris Nashawaty
    The Dead Don't Die
    It’s a film that lazily whistles past the graveyard as it brings that graveyard back to ravenous life.
    • 52 Metascore
    • 67 Chris Nashawaty
    Yardie
    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.
    • 51 Metascore
    • 67 Chris Nashawaty
    The Second Best Exotic Marigold Hotel
    Predictable, corny, and mild.
    • 72 Metascore
    • 67 Chris Nashawaty
    Always Shine
    The too-clever conceit sabotages the whole thing.
    • 34 Metascore
    • 67 Chris Nashawaty
    Vacation
    What’s missing is the pent-up anger that simmered behind Chevy Chase’s doofus grin. His Clark was always on the verge of a nuclear-family meltdown. Helms lacks Chase’s passive-aggressive edginess.
    • 81 Metascore
    • 67 Chris Nashawaty
    A Girl Walks Home Alone at Night
    Shot in inky black and white, Ana Lily Amirpour's fractured Farsi fright flick has a spooky, otherworldly quality. It's like an early Jim Jarmusch indie set in Little Tehran at 4 a.m.
    • 54 Metascore
    • 67 Chris Nashawaty
    Magic in the Moonlight
    While it's breezy and funny and perfectly pleasant, you probably won't remember this particular gift by the time the next birthday rolls around.
    • 43 Metascore
    • 67 Chris Nashawaty
    San Andreas
    San Andreas shows that sometimes the fake stuff can get the job done beautifully. I don’t want to make any claims that San Andreas is a great film. It’s not. But as mindless sensory barrages go, its fakery taps into something real: It shows us just how impotent we all are to control our planet. Unless, of course, you happen to be The Rock.
    • 59 Metascore
    • 67 Chris Nashawaty
    The Shallows
    The Shallows could have been a really fun B-movie. And in a lot of ways, it is. There’s no denying that it has some great jump-scares and scratches a certain summer itch we all get this time of year. Too bad it’s a bit too watered down.
    • 73 Metascore
    • 67 Chris Nashawaty
    The Square
    Only half of these setups go anywhere very interesting. The rest just feel like button-pushing stunts that, like so much of the merry-prankster conceptual art Christian champions, zero in on your intellect rather than your gut. Or, better yet, your heart
    • 40 Metascore
    • 67 Chris Nashawaty
    Horrible Bosses 2
    It's the small, tossed-off moments — Bateman's deadpan mugging, Day's frenzied cluelessness, and Sudeikis' smarmy one-liners — that land the best.
    • 46 Metascore
    • 67 Chris Nashawaty
    The Meg
    It is ridiculous, cheesy popcorn fun. And Statham, God bless him, knows exactly what kind of guilty pleasure he’s signed on for — Sharknado with a bigger budget and a much bigger monster.
    • 40 Metascore
    • 67 Chris Nashawaty
    Suicide Squad
    Writer-director David Ayer (End of Watch) skillfully sets up the film, introducing each of the crazies with caffeinated comic-book energy. But their mission...is a bit of a bust. The stakes should feel higher.
    • 60 Metascore
    • 67 Chris Nashawaty
    SPECTRE
    It’s possible that Skyfall created expectations that were too high for Spectre to match. But with all he’s done for the franchise, Craig deserves to go out with a bigger, smarter bang.
    • 54 Metascore
    • 67 Chris Nashawaty
    The Secret Life of Walter Mitty
    In the end, Walter Mitty is a film about acting out our dreams. But Stiller never quite shows us the soul of his dreamer.
    • 66 Metascore
    • 67 Chris Nashawaty
    Avengers: Age of Ultron
    Still, my real beef with these movies — and this one in particular — is how same-y they’ve started to feel. Each time out, everything is at stake and nothing is at stake.
    • 58 Metascore
    • 67 Chris Nashawaty
    Dean
    As a result, the movie comes across like a bunch of “bits” when it really should be getting at deeper emotions and truths. Then again, Woody Allen, another comedian-turned-writer/director, ran into that same problem back at the beginning of his career. And he ended up doing okay.
    • 60 Metascore
    • 67 Chris Nashawaty
    Mandela: Long Walk to Freedom
    All of the highlights are dutifully hit, as in a made-for-TV movie (albeit a lavish, gorgeously photographed one). Unfortunately, they're hit with a sledgehammer.
    • 57 Metascore
    • 67 Chris Nashawaty
    Viper Club
    Viper Club is an earnest and often engaging film that’s undeniably heartfelt. It’s capital-I important and timely. But without its star’s passionate, nuanced performance, it would run the risk of being a bit generic and forgettable.
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