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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    • 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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