Nick DavisMovie Reviews & Previews - Rotten Tomatoes

Nick Davis

Nick Davis
Nick Davis's reviews (from any publication) always count toward the Tomatometer because this critic is a Tomatometer-approved critic.

Movie Reviews Only

Rating T-Meter Title | Year Review
96% The Salesman (Forushande) (2017) Bruising but elegant, conceptually intricate within a street-realist style, The Salesman asks through its final shots: when we stare at each other, do we see each other, or only ourselves? ‐ Film Comment Magazine
Posted Jan 3, 2017
B- 80% The City of Lost Children (La Cité des Enfants Perdus) (1995) City of Lost Children is unmistakably of its era: filled with oddball artifacts, and itself quite pointedly an oddball artifact, seeking approval on those very terms. ‐ Nick's Flick Picks
Posted May 16, 2015
B 74% The Upside of Anger (2005) Upside is better-than-average as a mid-budget suburban film dramedy but positively gangbusters if you imagine it as a two-hour television pilot. ‐ Nick's Flick Picks
Posted Aug 6, 2014
No Score Yet Within Our Gates (1920) Within Our Gates is full of surprises, following a multitude of characters and plotlines without settling into predictable allegiances. ‐ Nick's Flick Picks
Posted Feb 4, 2013
A- 95% The Postman Always Rings Twice (1946) The movie is not a wild river but a humid delta of stagnant frustration and stymied movement, so it's all the more impressive that it's such a gripping spectatorial experience. ‐ Nick's Flick Picks
Posted Feb 8, 2012
B+ 94% The Importance of Being Earnest (1952) For an audience that takes pleasure in the all-too-rare art of faithful adaptations that vivify rather than embalming their sources [...] Asquith's conservative handling is just what the confirmed and secret Bunburyist ordered. ‐ Nick's Flick Picks
Posted Feb 8, 2012
B 92% The Laramie Project (2002) The Laramie Project is not really about Matthew Shepard but about this question of identification with Matthew, and of identification with the larger community of Laramie that admitted, sustained, eliminated, grieved, and civilly avenged Matthew. ‐ Nick's Flick Picks
Posted Feb 5, 2012
C- No Score Yet The Actress (1953) Sadly, if she was guilty of trying too hard or of trying in the wrong way, Cukor appears totally and uncharacteristically checked out... The Actress exposes the kinds of fraying seams that Cukor was usually so careful to conceal even in tattier projects. ‐ Nick's Flick Picks
Posted Feb 1, 2012
B 71% Rumble Fish (1983) Rumble Fish is like a unisex Sweet 16 gift for children whose favorite hangouts are the pool hall, the Cinématheque Française, and the rings of Saturn. ‐ Nick's Flick Picks
Posted Jan 22, 2012
C No Score Yet Tim (1979) Tim comes close to reproducing the plot of Doubt, in negative-space fashion. That is, for this go-round, we spend all our time with the uncomprehending kid (if he is uncomprehending?) and his teacher-nurturer-desirer. ‐ Nick's Flick Picks
Posted Jan 21, 2012
C 68% The Long Kiss Goodnight (1996) The surprise and also the disappointment of The Long Kiss Goodnight is much simpler, and less politically inflected: it's badly made, or too close to badly made. ‐ Nick's Flick Picks
Posted Jan 21, 2012
B 83% The Fountainhead (1949) The Fountainhead is by turns exciting, handsome, astoundingly awkward, fully committed, untowardly relentless, very strange, and a little creepy in its compulsive watchability. ‐ Nick's Flick Picks
Posted Jan 20, 2012
B 100% Gaslight (1940) So much goes right in this film version, all without sparking a corresponding bump in my enthusiasm, that it's all the more obvious that I find some foundations of this text perennially problematic. ‐ Nick's Flick Picks
Posted Jan 16, 2012
B- 78% Barfly (1987) As I write about Barfly, I do seem to be talking myself into greater admiration for it, or at least into a sense of welcome design beneath its superficial inertia. ‐ Nick's Flick Picks
Posted Jan 13, 2012
C+ 77% The Life and Death of Peter Sellers (2004) "There was no real Peter Sellers"... As a theme, it smells of the tired cop-out, somewhere in the same clubhouse of desiccated phrases as "I love you, but I'm not in love with you" and "In a crazy world, only the mad people are sane." ‐ Nick's Flick Picks
Posted Jan 13, 2012
D+ No Score Yet The Emperor's Candlesticks (1937) In Rainer's case, The Emperor's Candlesticks seems unusually revealing, doffing the dropcloth from exactly the sort of peculiar, temporarily arresting artifact she was, guaranteed to inspire buyer's remorse. ‐ Nick's Flick Picks
Posted Jan 12, 2012
C+ 74% Twelfth Night (1998) I started watching the film by thinking, "They should film more of the comedies," and probably They still should, but I ended by thinking, "They really ought to hire movie directors to make movies." ‐ Nick's Flick Picks
Posted Jan 8, 2012
B+ 75% Heroes for Sale (1933) A Pre-Code Battle in Seattle... Heroes for Sale is not a perfect film, and not particularly interested in perfection, but really and truly, pretend this isn't a cliché: they don't make 'em like this anymore. ‐ Nick's Flick Picks
Posted Jan 5, 2012
C 67% The Little Drummer Girl (1984) Stark criticisms are unavoidable, even as I'm forced to admit that the film is one of those wrongly-assembled movies that is built on such an unusual Hollywood premise...that it eventually becomes halfway fascinating. ‐ Nick's Flick Picks
Posted Jan 5, 2012
B- No Score Yet The Glass Menagerie (1950) The Glass Menagerie has a lot going for it, even if director Irving Rapper (Now, Voyager) misses several opportunities to take the characters deeper. ‐ Nick's Flick Picks
Posted Jan 5, 2012
B 69% sleep furiously. (2011) A certain polite withholding, even if it masks some firm conviction or desire, seems to be a coin of the realm in Trefeurig, so it may well be apt that Koppel often films in a register very close to this one. ‐ Nick's Flick Picks
Posted Jul 28, 2011
B 100% Cactus (1987) A qualified accomplishment ... Part and parcel of its limitations, though, is Cactus's genuine will to stand apart, offering rich textures and unexpected pleasures. ‐ Nick's Flick Picks
Posted Jul 17, 2011
B- No Score Yet Esther (1985) Merging straight Biblical storytelling with modern gimmicks, Amos Gitai half-succeeds at both... Even when he stutters or flaunts his affectations, you cannot write him off as having nothing to say. ‐ Nick's Flick Picks
Posted Jul 16, 2011
C- No Score Yet Opera do Malandro (1986) Ópera do Malandro is way more Love's Labour's Lost than Moulin Rouge!, both in formal execution and in its awkward orientation to World War II. The film means to be ersatz but perhaps not this much. ‐ Nick's Flick Picks
Posted Jul 14, 2011
C- 25% Max My Love (Max Mon Amour) (1996) If you've wondered what kind of continental TV pilot Sherwood Schwartz might have devised from watching Zoo, here's your answer. ‐ Nick's Flick Picks
Posted Jul 12, 2011
B 93% She's Gotta Have It (1986) Light, scrappy entertainment that flatters everything funky and fresh about Lee, tempting you to forgive what is stunted or abrasive in the film. A major swaying element is his own on-screen persona. ‐ Nick's Flick Picks
Posted Jul 11, 2011
C 86% The Decline of the American Empire (Le Déclin de l'Empire Américain) (1986) What Arcand has devised is a kind of Nia Vardalos movie in tenured-faculty clothing: Our Big Fat Bourgeois Salon ... It trades only the crudest ironies and screenwriting mechanics. ‐ Nick's Flick Picks
Posted Jul 10, 2011
B+ 83% The Sacrifice (1986) Visually potent ... humblingly vast ... [and yet] the movie oscillates between compelling our thunderstruck confidence and testing our patience with unfulfilled promise and highbrow clichés. ‐ Nick's Flick Picks
Posted Jul 8, 2011
B 80% Ménage (Tenue de Soirée) (1986) Quite funny for the first half and deeply weird for the second, with a laudable courage of its own bizarre conviction throughout, even as it reveals a nasty undertone. ‐ Nick's Flick Picks
Posted Jul 8, 2011
C+ 90% After Hours (1985) [Scorsese's] tendency toward hollow showboating has rarely been more in evidence ... Ends as a tolerable but annoyingly atonal exercise made by artists with little if anything on their minds. ‐ Nick's Flick Picks
Posted Jul 7, 2011
B 97% Mona Lisa (1986) The bracing peaks of image, acting, and narrative architecture handily win the day over a scenario that always feels more like a willfully engineered exercise than a fully plausible reality. ‐ Nick's Flick Picks
Posted Jul 6, 2011
C+ No Score Yet Eu Sei Que Vou Te Amar (Love Me Forever or Never) (1986) Love Me Forever or Never may be more committed to its bright, calico surface and its abrupt transitions in focus and tone than it is to the relations between the two people on screen. ‐ Nick's Flick Picks
Posted Jul 1, 2011
B+ 75% Fool for Love (1985) The basic friction between Altman's lightness and Shepard's portentousness serves the movie in rich and ever-expanding ways, and not just because you can't ever predict how the narrative will swerve. ‐ Nick's Flick Picks
Posted Jul 1, 2011
B 71% Hanna (2011) The movie feels alive in a thrilling way, sometimes even a funny way, even when its thrills are cheap, confused, or diaphanous. ‐ Nick's Flick Picks
Posted Apr 30, 2011
C+ No Score Yet Scream of the Ants (2006) This side of Makhmalbaf is exhilarating at its best but still feels essential at its petulant and shapeless worst. ‐ Nick's Flick Picks
Posted Apr 4, 2011
B+ 93% Lourdes (2010) The withholding of judgment persists across Lourdes, which is comic, haunting, sweet, pious, unsettling, agnostic, and wholly deadpan at various moments. ‐ Nick's Flick Picks
Posted Mar 4, 2011
B- 87% Black Swan (2010) Why tell this story in such elaborate terms? And why coax Nina just barely out from beneath her mother's thumb, only to pinion her just as harshly underneath Aronofsky's? ‐ Nick's Flick Picks
Posted Oct 13, 2010
C+ 73% The Housemaid (2011) The Housemaid just feels rudely conceived, unresolved, and maybe a little confused about which among its many ideas and impulses are the most interesting. ‐ Nick's Flick Picks
Posted Oct 11, 2010
C+ 71% Never Let Me Go (2010) Strangely, Romanek often feels disarmed of exactly these vital organs that might have made him a sturdy, sharp renderer of this story. One senses he's too saddened by the tale he is spinning to take a risk on a demanding image. ‐ Nick's Flick Picks
Posted Sep 18, 2010
C+ 97% Mugabe and the White African (2010) The filmmakers leave massive and sometimes reactionary holes in a film that could easily have pled a more accommodating and sophisticated yet equally airtight case. ‐ Nick's Flick Picks
Posted Sep 6, 2010
C+ 71% Valhalla Rising (2010) I appreciate Refn for pushing against conventions of rhythm, photography, subject, color, and form, and I don't mind that Valhalla Rising lacks a story so much as I question its reliance on enigmatic hints of some grand, over-arching abstraction. ‐ Nick's Flick Picks
Posted Sep 4, 2010
B 72% The Last Exorcism (2010) Any film that forges as unruly a connection as this one does with its audience deserves some applause, especially when the film belongs to a genre where all too many of its peers come across as rote or as thoughtlessly, remorselessly heartless. ‐ Nick's Flick Picks
Posted Sep 4, 2010
B 90% Lebanon (Levanon) (2010) Not all films that attempt to govern their audiences so strictly, or so overtly advertise their own architectures of form and theme, have nearly the punch that Lebanon does. ‐ Nick's Flick Picks
Posted Aug 31, 2010
C 86% The Square (2010) The Square gets plenty of early elements in place to promise something more special than it ultimately becomes... Even a strong first impression can't survive such a flailing resolution. ‐ Nick's Flick Picks
Posted Aug 30, 2010
B 62% Make Out With Violence (2009) Builds a real air of mystery around the captive girl, what she is, what she is or isn't capable of doing, and what we're invited to feel about her or her caretaker-captors... Made with real filmmaking flair. ‐ Nick's Flick Picks
Posted Aug 30, 2010
C 92% Only When I Dance (Vida Ballet) (2010) It becomes impossible to take Only When I Dance seriously as more than the superficial account of a frustratingly tentative bystander. ‐ Nick's Flick Picks
Posted Aug 22, 2010
A No Score Yet Borom Sarret (1963) Sembene's early short film encapsulates everything that is angry, witty, pellucid, and healthily, uncynically skeptical about his cinema. ‐ Nick's Flick Picks
Posted Aug 21, 2010
B+ 95% Animal Kingdom (2010) Almost every scene in Animal Kingdom includes some shot, some edit or avoidance of edit, some lighting effect, some performance gesture, or some sound element that breaks the scene out of the simplest grooves it might have obeyed. ‐ Nick's Flick Picks
Posted Aug 19, 2010
B 81% Cairo Time (2010) A reflective, surprisingly subtle piece about character and about location, when I had expected either a completely anodyne travelogue or a dogmatic, 'Yes'-style disquisition. ‐ Nick's Flick Picks
Posted Aug 15, 2010
A- 89% Alle Anderen (Everyone Else) (2010) Maren Ade's sophisticated, incisive storytelling relies not on screaming matches but on the leads' marvelous attunement to each other, the ways in which they snag on the barest flickers of intimated feeling in each other's performances. ‐ Nick's Flick Picks
Posted Aug 15, 2010