Gregory Nussen

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Screen Rant, Slant Magazine
For 173 reviews, this critic has graded:
  • 34% higher than the average critic
  • 6% same as the average critic
  • 60% lower than the average critic
On average, this critic grades 5.3 points lower than other critics. (0-100 point scale)

Gregory Nussen's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 Once Upon a Time in Harlem
Lowest review score: 10 The Strangers: Chapter 3
Score distribution:
  1. Positive: 89 out of 173
  2. Mixed: 55 out of 173
  3. Negative: 29 out of 173
173 movie reviews
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    • 61 Metascore
    • 30 Gregory Nussen
    Nuremberg
    With Nuremberg, James Vanderbilt is less interested in showing Hermann Göring (Russell Crowe) as "normal," as he is in accentuating Hitler's right-hand man as a charming charlatan. But this intentionality is miscalculated, and the film, bloated as it is with jarring tonal changes and thickly laid-on sentimentality, tilts so far into humanizing Nazis that it seems, at times, to apologize for the behavior of the high command.
    • 61 Metascore
    • 40 Gregory Nussen
    Beast of War
    This is classic B-movie creature-feature stuff.
    • 61 Metascore
    • 50 Gregory Nussen
    Scream VI
    It simply picks up the baton from the previous film, relying on a series of increasingly nasty, and at times exciting, kills to thrill audiences, while leaving everything in between to feel as fake as its vision of the Big Apple.
    • 60 Metascore
    • 40 Gregory Nussen
    Stitch Head
    Younger children will delight in the film's atmospheric wonder, but older children may be bored by the simple yet nonspecific comedy.
    • 60 Metascore
    • 50 Gregory Nussen
    Wolfs
    The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
    • 60 Metascore
    • 50 Gregory Nussen
    Midwinter Break
    To put it simply: it's just not very stimulating to watch two people who have a hard time talking... have a hard time talking. Stella and Gerry's love may be stuck in the wintry cold, but so is the film, utterly unable to be thawed.
    • 60 Metascore
    • 38 Gregory Nussen
    The Line
    The Line isn’t without its moments of genuine beauty, but it’s difficult to shake that its distinct lack of a clear story hasn’t given enough space to the characters.
    • 60 Metascore
    • 70 Gregory Nussen
    GOAT
    It's an underdog story — sorry, under-goat story — for a new generation that is ready for a new, more inclusive kind of game.
    • 60 Metascore
    • 50 Gregory Nussen
    The Fox
    The film boasts a twee quirkiness in style, but in its narrative, that promise never really comes to fruition. It is, in other words, a much more normal affair than what is promised. In spite of many genuine laughs, that just translates into a disappointing experience.
    • 59 Metascore
    • 90 Gregory Nussen
    Europe's New Faces
    Through form and function, Abbas demonstrates the ironic and contradictory nature of his very enterprise, as the temporal fixity of the photograph clashes with the persistent movement of a migrant constantly pulled in multiple directions.
    • 59 Metascore
    • 40 Gregory Nussen
    Springsteen: Deliver Me from Nowhere
    The film's best attribute is the romance between Bruce and Faye. White and Young's chemistry is palpable, and Cooper solidly helps us understand why an artist on the verge of overwhelming fame might be interested in a working-class single mother, whose planted smile belies the pain of someone abandoned and bereft. There's a nuance here that the rest of the film sorely lacks and needs.
    • 59 Metascore
    • 70 Gregory Nussen
    The Napa Boys
    The Napa Boys is best enjoyed like a California wine road trip: you can be vaguely aware of the territory, but it's more fun to just ride along its peaks and valleys. When the film hits, it really hits.
    • 59 Metascore
    • 70 Gregory Nussen
    The Last Dragon
    Though it is sometimes a bewildering mess, the film totally works in spite of its more ludicrous intentions, a standing piece of proof that the more specific a piece of work is, the more universal it somehow becomes.
    • 59 Metascore
    • 38 Gregory Nussen
    The Little Mermaid
    This Little Mermaid feels more or less like two-hour-plus cosplay with the texture and gravitas of a Disneyland sideshow.
    • 58 Metascore
    • 60 Gregory Nussen
    Primate
    Overall, the pulpier and the dumber it gets, Primate provides a pretty good reason to get to the theater in January. And, it gets pretty pulpy and dumb indeed.
    • 58 Metascore
    • 40 Gregory Nussen
    Ready or Not 2: Here I Come
    If Ready or Not was a chess match, Here I Come is tic-tac-toe.
    • 58 Metascore
    • 50 Gregory Nussen
    American Sweatshop
    What the film does exceedingly well is make us see the inherent irony of moderating online violence to the exclusion of the real-life violence in front of our faces.
    • 57 Metascore
    • 30 Gregory Nussen
    Anniversary
    The chamber drama of a rich family in collapse is only successful as much as the context within which it exists, and, because that context is as slippery as it is, Anniversary just feels toothless.
    • 57 Metascore
    • 38 Gregory Nussen
    The Mountain
    Thomas Salvador frustratingly never offers a concrete sense of what his character feels that he’s lost, and so we’re tasked with loading meaning onto the character’s journey of apparent self-reclamation.
    • 55 Metascore
    • 80 Gregory Nussen
    The Bride!
    Maggie Gyllenhaal's second feature is an explosive representation of social disruption. A screaming cry of a film, The Bride! utilizes its literary and filmic influences - Hamlet, Romeo & Juliet, Bartleby, Bonnie & Clyde - to belt a clarion call against upper-crust hedonism, police complicity, violence against women, and the patriarchal system that binds them all.
    • 56 Metascore
    • 38 Gregory Nussen
    Fast X
    Being as this is the first of a possibly three-part finale, Fast X’s sense of fun is constantly deflated by all the table-setting.
    • 56 Metascore
    • 40 Gregory Nussen
    Mr. K
    At its best, Mr. K is like being immersed in Hieronymous Bosch's Garden of Earthly Delights. More often, however, it's like living inside a trash heap.
    • 55 Metascore
    • 40 Gregory Nussen
    Wuthering Heights
    What they cannot ignore is that the film is otherwise still lacking. For all the epithets one could throw out about Wuthering Heights, the most surprising may be that it is an abject snooze, and that its nonchalance about color-specific casting reveals a filmmaker completely insensitive to the implications of race in the late 18th century.
    • 53 Metascore
    • 60 Gregory Nussen
    Silent Night, Deadly Night
    Silent Night, Deadly Night, is at its best when Nelson remembers how schlocky this material is, and he falters when he tries too hard to take it seriously.
    • 53 Metascore
    • 30 Gregory Nussen
    The Moment
    None of it works. I'll cut to the quick: The Moment is an unmitigated disaster.
    • 52 Metascore
    • 50 Gregory Nussen
    Over Your Dead Body
    Ultimately, Over Your Dead Body is too messy for its own good. It is unable to settle into any one choice. The repeated motif of flashbacks and plot twists is fun, but not always useful in keeping the ball up.
    • 51 Metascore
    • 70 Gregory Nussen
    Doin' It
    That the film is so admirably sex-positive, especially as it is from the too-often silenced perspective of female pleasure, makes it all the more refreshing.
    • 51 Metascore
    • 50 Gregory Nussen
    See You When I See You
    It's a standard-bearer film, a real fastball down the middle, which hits all of its assumed itinerant emotional beats right on target, without ever really challenging us in any major way.
    • 50 Metascore
    • 40 Gregory Nussen
    Now You See Me: Now You Don't
    Even more than its two predecessors, the film relies on being condescension to sell its so-called magic.
    • 50 Metascore
    • 50 Gregory Nussen
    Cobweb
    As tantalizing as the film’s ambiguity can be in certain moments, there comes a point where it starts to feel at once half-baked and a transparent means of delaying the inevitable.
    • 50 Metascore
    • 50 Gregory Nussen
    Shelter
    Waugh knows how to build an action sequence with the best of them, and Shelter is, ultimately, an electric actioner, so long as it is sticking to the action.
    • 50 Metascore
    • 50 Gregory Nussen
    Ruby Gillman, Teenage Kraken
    Sweet but narratively thin and didactic, the latest from DreamWorks Animation always seems as if it’s trying to find its footing.
    • 49 Metascore
    • 25 Gregory Nussen
    The Miracle Club
    In the end, The Miracle Club is splintered at the seams between its desire to tell an uplifting story of forgiveness and a cheeky tale of patriarchal floundering, all the while doing both a tremendous disservice.
    • 49 Metascore
    • 40 Gregory Nussen
    How to Make a Killing
    A surprisingly bland film that somehow manages to dampen even Glen Powell's usual brand of effortless charm, How to Make a Killing is sketched together with thin characterizations, limp commentary and a sluggish pace.
    • 48 Metascore
    • 40 Gregory Nussen
    The Gallerist
    The Gallerist is a tepid satire. Even calling it such feels generous, as the film is almost entirely devoid of genuine humor.
    • 48 Metascore
    • 80 Gregory Nussen
    The Twits
    While the film may thematically point to real-world struggles in the United States, The Twits is mostly an accessible story about the power of empathy in the face of naked evil, all to the tune of about a thousand fart jokes.
    • 47 Metascore
    • 50 Gregory Nussen
    Haunted Mansion
    The film handily invokes the campiness of the iconic Disneyland attraction, if not its kinetics.
    • 46 Metascore
    • 63 Gregory Nussen
    Book Club: The Next Chapter
    The film is devoid of serious conflict, yet it hits with unexpected feeling.
    • 45 Metascore
    • 12 Gregory Nussen
    Locked
    Throughout, the filmmakers’ sympathies are lost in a confusing haze of cynicism.
    • 45 Metascore
    • 38 Gregory Nussen
    Paint
    The film doesn’t have a clear opinion on its main subject and the scourge of misogyny in media.
    • 43 Metascore
    • 25 Gregory Nussen
    Night Swim
    There’s an elegiac beauty to many of Night Swim’s pool scenes, but everything that surrounds them is leaden, from Wyatt Russell’s comatose performance to the baseball metaphors that have been unsubtly shoehorned into the impossibly routine narrative.
    • 43 Metascore
    • 40 Gregory Nussen
    Anaconda
    Anaconda aims to be Bowfinger for a new generation but ends up feeling as insipid as the film it is loosely based on. Its target audience is people nostalgic for the salad days of studio blockbusters, who are righteously frustrated with executives for cashing in on material they don't understand.
    • 41 Metascore
    • 20 Gregory Nussen
    Shelby Oaks
    The revelations of the film, once they come, are admittedly disturbing. But the route to get there is paved with blandness and awkward acting.
    • 40 Metascore
    • 20 Gregory Nussen
    Waltzing with Brando
    In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.
    • 40 Metascore
    • 50 Gregory Nussen
    The Carpenter's Son
    Heretical or not, it's a captivating story, even when it seems predicated solely on vibes. It's a shame, then, that the film is not as accessible as Jupe is as an actor. The first two acts move like molasses, brimming with allegory that never quite translates off the page.
    • 38 Metascore
    • 10 Gregory Nussen
    The Family Plan 2
    The film is woeful from top to bottom.
    • 35 Metascore
    • 30 Gregory Nussen
    Scream 7
    Scream 7 injects nostalgia and self-referentiality like a weak drug, a stash of weed purchased so long ago it has gone so stale it crumbles to the touch.
    • 34 Metascore
    • 40 Gregory Nussen
    Mercy
    The process of searching through all manner of cloud-based applications and information in a video-game-like manner is a tantalizing prospect, one just wishes it wasn't done for something so harebrained.
    • 33 Metascore
    • 20 Gregory Nussen
    Regretting You
    Perhaps the lesson of the film is that regret is a waste of emotional bandwidth, but regret is easy to feel when the story is a fumbled as this.
    • 26 Metascore
    • 10 Gregory Nussen
    Psycho Killer
    It's rare that a film is this devoid of characterization, rarer still that a serial killer horror is this lacking in tension.
    • 20 Metascore
    • 30 Gregory Nussen
    Playdate
    Nearly everything Ritchson and James do in the name of comedy is forced and untethered from reality. Then again, so is the movie, so at least it's consistent.
    • 19 Metascore
    • 10 Gregory Nussen
    The Strangers: Chapter 3
    The only thing Harlin has done here is to remove the element of surprise. Without that, the film is nothing, nothing at all.
    • tbd Metascore
    • 75 Gregory Nussen
    Egoist
    Though Egoist can sometimes feel overly tidy, there’s something refreshing about its straightforward approach. Consistent with its style, which is so free of ornament, it pursues its themes with a welcome directness.
    • tbd Metascore
    • 63 Gregory Nussen
    Notes on Displacement
    It presents all the complex and seemingly contradictory emotions of a forced life on the road.
    • tbd Metascore
    • 20 Gregory Nussen
    London Calling
    Unlike the comedy, Ungar does know how to shoot action decently well, and it's in those scenes when the film momentarily comes alive.
    • tbd Metascore
    • 30 Gregory Nussen
    Maintenance Required
    Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.
    • tbd Metascore
    • 20 Gregory Nussen
    Stay
    The twist is sufficiently tragic, but it is also mawkish. The structure is misguided.
    • tbd Metascore
    • 70 Gregory Nussen
    Good News
    Ultimately, the film is successful in having its cake and eating it too. It is both a tense political thriller and a crackling satire of drunken power. The comedy of the first two-thirds becomes the horror in the last, as these people’s willful ignorance of danger becomes terrifying in its potential repercussions.
    • tbd Metascore
    • 10 Gregory Nussen
    Vindication Swim
    What results is an utter slog from start to finish.
    • tbd Metascore
    • 70 Gregory Nussen
    The Beldham
    Gulner, who has five other writing credits but directs here for the first time, is a sturdy filmmaker with a solid feel for pace and tone. With The Beldham, she has crafted a clever piece of writing whose ending recontextualizes the whole film in a magnetic flash.
    • tbd Metascore
    • 20 Gregory Nussen
    Bull Run
    Bull Run is so devoid of substance that much of it is taped together with ironic usage of stock photos and archival footage, as if to constantly point at the vapidity of its own enterprise.
    • tbd Metascore
    • 40 Gregory Nussen
    If You See Something
    Ultimately, the film is far too placid and noncommittal to earn its more moving climax. It's hard to really care about these characters when their stream of decisions seems either improperly motivated or else frustratingly selfish.
    • tbd Metascore
    • 30 Gregory Nussen
    Peas and Carrots
    Not to put too fine a point on it, but Peas and Carrots is amateur on almost every front, and whatever it has to say about finding one's proper role in society is hidden inside some utterly confounding plot devices.
    • tbd Metascore
    • 70 Gregory Nussen
    Lone Samurai
    Despite this being a film billed as "samurai versus cannibals," it is actually at its best before the fighting begins.
    • tbd Metascore
    • 60 Gregory Nussen
    Deepfaking Sam Altman
    In implicit ways, Deepfaking Sam Altman demonstrates just how out of touch from basic humanity these programs still are, which makes it all the more terrifying when we hear how they are being peddled as tools which can literally decide the fate of human lives.
    • tbd Metascore
    • 40 Gregory Nussen
    Hellfire
    Lang really goes for it here, and he sells the material as best as he can, but suffice it to say that Hellfire is only as entertaining as your bandwidth for bog-standard action fare.
    • tbd Metascore
    • 80 Gregory Nussen
    Micro Budget
    It's a deliriously perfect, laugh-a-second satire.
    • tbd Metascore
    • 30 Gregory Nussen
    Undercard
    Sykes brings what she can to the proceedings, but there's only so much she can do to make Undercard even slightly distinctive.
    • tbd Metascore
    • 70 Gregory Nussen
    Youngblood
    If Heated Rivalry could help with queer representation in sports, perhaps Youngblood could help crack the foundation of racism in hockey.
    • tbd Metascore
    • 80 Gregory Nussen
    The Projectionist
    Despite its outward sullenness, The Projectionist is so well observed in its smaller moments that it contains within it an unusual kind of hope.
    • tbd Metascore
    • 50 Gregory Nussen
    Family Movie
    In between nonchalant murders, Beers, Bacon, and Sedgwick aim for grounded heart-to-heart conversations of a kind that don't exactly feel at home in the movie's otherwise topsy-turvy world. But being that this is a real family that has worked together for decades, their chemistry elevates the somewhat lackluster writing to deliver a pleasurable, if tame experience.
    • tbd Metascore
    • 90 Gregory Nussen
    The Sun Never Sets
    This may well be Fanning's best performance to date, an intricately laced characterization of someone who is as filled with determination and dignity as she is by indecision. As Wendy, Fanning has a special way of presenting someone that can be both open and closed in equal measure: smiling through difficulty, forceful and righteous when angry, light and airy when experiencing joy.
    • tbd Metascore
    • 80 Gregory Nussen
    Sender
    Sender is not the easiest watch. An anxiety-driven nightmare, Goldman's film doesn't just examine surveillance habits and the cycle of supply and demand, but our relationship to these things and the comfortable embrace of addiction. This is where Julia Day (Severance's Britt Lower) lives, and to help us understand what it's like to be inside her head, Goldman and editor Marco Rosas cut with dizzying alacrity, snapping space and time like a folded belt.
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