Nick Rogers Movie Reviews & Previews - Rotten Tomatoes

Nick Rogers

Nick Rogers
Tomatometer-approved critic

Movie Reviews Only

Rating T-Meter Title | Year Review
3/5 53% Escape Room (2019) Enjoyably intense if not intensely enjoyable. You could do worse on the first weekend of January. (The makers of Escape Room sure have.) Never quite finds that code for the exit door but, much like the real deal, still a fun time regardless.‐ Midwest Film Journal
Read More | Posted Jan 4, 2019
3/5 9% Holmes and Watson (2018) Smart about how it's stupid, the comedy suggests an embrace of remorseless logic will only rot your soul and friendships. Yeah, it's a movie in which John C. Reilly lactates, but it also says more than you'd expect about the milk of human kindness.‐ Midwest Film Journal
Read More | Posted Jan 2, 2019
1/5 64% Bird Box (2018) Save a reasonably suspenseful scene at the midpoint, "Bird Box" is a jacuzzi-fart indulgence of the same mealy-mouthed, meat-headed morality debates about the world's end that you'd find in any given "The Walking Dead" moment. At least it's shorter.‐ Midwest Film Journal
Read More | Posted Dec 20, 2018
1/5 79% Ben is Back (2018) It's a hunk of garbage that cheaply and casually diminishes America's silent opioid crisis by loudly shouting up the very worst ideas on how to address it. In doing so, it marginalizes addiction and makes melodramatic mockery of a very real problem.‐ Midwest Film Journal
Read More | Posted Dec 19, 2018
3/5 31% Welcome to Marwen (2018) Zemeckis follows what interests him rather than what incentivizes him and his professional touch here makes it easy to shake off any grudges. His playful craftsmanship is still in full view. For the first time in a decade, so are his inconsistencies.‐ Midwest Film Journal
Read More | Posted Dec 19, 2018
2.5/5 64% Mary Queen of Scots (2018) In all, you wonder if Rourke should have let two tremendous actresses simply read their letters to one another, with light dramatization as necessary. Alas, Saoirse Ronan and Margot Robbie should be running the film but instead the film runs them.‐ Midwest Film Journal
Read More | Posted Dec 13, 2018
3.5/5 59% Vox Lux (2018) A doom-laden, dark-humored pop-culture allegory. You could translate the title as either "the voice of light" or "light voice." Either reading works here for a movie that's not that deep, but that's still got some damn snappy satirical choreography.‐ Midwest Film Journal
Read More | Posted Dec 13, 2018
2/5 89% Maria By Callas (2018) A documentary presupposing a surfeit of advance knowledge on its subject, "Maria by Callas" is too niche to appeal to anyone outside of the infinitesimal intersection of opera and archival aficionados. It's a diva wrapped in an aria inside an enigma.‐ Midwest Film Journal
Read More | Posted Nov 28, 2018
2.5/5 92% Mirai (2018) There certainly are some lovely moments and imaginative animations in Kun's mind-bending journey to find the confidence and conviction to truly become Mirai's big brother. But Mamoru Hosoda never quite hits the dizzying heights to which he aspires.‐ Midwest Film Journal
Read More | Posted Nov 27, 2018
2/5 59% The Front Runner (2018) Jason Reitman's turgid political treatise wants us to think it's depicting character assassination as tragic as mortal ones at the Ambassador Hotel or Dealey Plaza. It's just a misguided misfire that feebly tries tracing a path to our present moment.‐ Midwest Film Journal
Read More | Posted Nov 20, 2018
2.5/5 81% Green Book (2018) Unwilling to reckon with America's past or present in any meaningful way, "Green Book" is largely a "my black friend" movie. And for all the masterful pauses, emphases and gestures at their command, Viggo Mortensen and Mahershala Ali can't save it.‐ Midwest Film Journal
Read More | Posted Nov 19, 2018
3/5 94% CAM (2018) The screenplay for "Cam" understands that our path from outlet to obsession and perhaps obliteration can be as quick as the speeds we're pulling down. Forget the attempts at explanatory horror. These moments are the ones worth tipping with your time.‐ Midwest Film Journal
Read More | Posted Nov 14, 2018
3.5/5 81% Overlord (2018) A blitzkrieg bop of blood and bullets, "Overlord" is the best kind of movie monstrosity - scratching and clawing a new airway whenever its current scenario starts to suffocate, all the way to a rip-snorter ending that's hungry like the Wolfenstein.‐ Midwest Film Journal
Read More | Posted Nov 10, 2018
2.5/5 69% The Happy Prince (2018) Rupert Everett's mostly handsome movie never quite shifts out of a languorous dies irae for a depleted soul. It hits a gear and stays there. To describe it using one of Wilde's quotes: "The world becomes a picture you can look at but never touch."‐ Midwest Film Journal
Read More | Posted Nov 8, 2018
2/5 63% Outlaw King (2018) Aiming for something more primal and less prestigious than "Braveheart" while hoping to retain the power, "Outlaw King" winds up merely passable. Score one for Netflix's algorithm, though, to pop up something original after a "Braveheart" search.‐ Midwest Film Journal
Read More | Posted Nov 8, 2018
3.5/5 80% Boy Erased (2018) A tad too safe and sanitary. But it's still a generously acted story of faith, identity and the survival instincts inherent to both - and one reinforcing the power of respectful honesty to recognize some transgressions are simply not ours to bear.‐ Midwest Film Journal
Read More | Posted Nov 7, 2018
4.5/5 63% The Beyond (...E tu vivrai nel terrore! L'aldilà) (1981) The very thesis here is that viewing life as more than a linear path from birth to death - no matter how joyous or sad - is just a more comfortable form of entropy. And what happens when even that system is erased? This is pure horror brilliance.‐ Midwest Film Journal
Read More | Posted Oct 29, 2018
3/5 88% The Night Comes For Us (2018) However energetic, most set pieces blend together like a daisy chain of entrails. Brawls in a butcher shop and paddy wagon stand out. Only a final fight gets at a more grandiloquent Guignol. More testicular trauma than its forerunners, less cojones.‐ Midwest Film Journal
Read More | Posted Oct 20, 2018
3.5/5 78% Apostle (2018) Gareth Evans' pivot from martial arts understands cult fervor has its own fighting stance and frantic energy. Action bursts here feel both like concession and inevitability, their pleasures plenty but perhaps less immediate in their initial burst.‐ Midwest Film Journal
Read More | Posted Oct 13, 2018
2.5/5 74% Bad Times at the El Royale (2018) A pretentious piece of pulp that simply tries to ponder too much, a crime story full of motive and means but short on opportunity, and what it would look like if you tried to smush together "Forrest Gump" and "Pulp Fiction" into 141 unwieldy minutes.‐ Midwest Film Journal
Read More | Posted Oct 12, 2018
1.5/5 47% Goosebumps 2: Haunted Halloween (2018) A scene mimicking the original's meta momentum also illustrates overconfidence with which vendors flood markets with stuff that's glanced at, passed up and eventually priced to move - true in costume aisles on Halloween night and now your multiplex.‐ Midwest Film Journal
Read More | Posted Oct 12, 2018
4/5 90% A Star Is Born (2018) Songs age, too, into eulogies for euphoria or suicide notes for security. They die. They're reborn. Over and over. That sense of decay and renewal boldly rests deep in the bones, performances and storytelling of one of the year's best films.‐ Midwest Film Journal
Read More | Posted Oct 5, 2018
1.5/5 39% Hell Fest (2018) What do you call six writers thrown together to create a horror movie? Here's the groaner of a punchline, whose use of "Pop Goes the Weasel" as a leitmotif lays bare that its scare tactics are akin to watching a jack-in the-box for 87 minutes.‐ Midwest Film Journal
Read More | Posted Sep 27, 2018
1/5 12% Peppermint (2018) It's somehow hilarious and depressing that one patron vocally thought it was not rated R. Then again, the violence is not entirely the quibble here. It's the substantially quantitative body count just adding up to a big, fat qualitative goose egg.‐ Midwest Film Journal
Read More | Posted Sep 6, 2018
2/5 30% Kin (2018) If the best films from which to steal boast a recognizable vibrancy, consider "Kin" the lifeless dolt sleeping it off in a back alley. It won't wake up in the event that future filmmakers riffle its pockets, but they'll find only a frayed, worn hole.‐ Midwest Film Journal
Read More | Posted Aug 31, 2018
3.5/5 92% Searching (2018) Stumbles through explanatory zigzags and switchbacks, and definitely overexerts itself for a sense of justice rarely, if ever, found online. At least it's more interested in an introspective interrogation of identity rather than fingering suspects.‐ Midwest Film Journal
Read More | Posted Aug 31, 2018
4.5/5 100% Leave No Trace (2018) A kind-hearted drama whose consistent quiet and composure leaves you all the more floored by its low-volume, high-stakes conclusion, "Leave No Trace" continues 2018's welcome trend of confident, compassionate stories about those on society's margins.‐ Midwest Film Journal
Read More | Posted Jul 11, 2018
3/5 63% Uncle Drew (2018) It's fair that so many characters don throwback jerseys. The entire endeavor celebrates the old school - from its conceit of senior citizens schooling young'uns to the congenial, casual and chummy '90s sports comedy vibe it so effortlessly conjures.‐ Midwest Film Journal
Read More | Posted Jul 4, 2018
2/5 54% The First Purge (2018) Maybe the upcoming "Purge" TV series advertised in an end-credits interruption will return to the franchise's exploration of how our analogous anxieties continue to evolve. But "The First Purge" disappointingly settles for pure economic expedience.‐ Midwest Film Journal
Read More | Posted Jul 4, 2018
1.5/5 48% Jurassic World: Fallen Kingdom (2018) Perhaps this franchise is simply at the stage of breeding where the pedigree starts to fade, you know the pets are going to get debilitating hip dysplasia after a few years, and yet you just press on anyway because you simply cannot do anything else.‐ Midwest Film Journal
Read More | Posted Jun 26, 2018
2.5/5 48% Superfly (2018) Always tryin' to get over. Never quite does.‐ Midwest Film Journal
Read More | Posted Jun 13, 2018
1.5/5 57% Hotel Artemis (2018) A so-so idea and a good cast squandered on an eight-figure scramble of the movies and books of which writer-director Drew Pearce is fond. It's depressing to see so little of Jodie Foster anymore. Why does she keep making dunderheaded dystopian duds?‐ Midwest Film Journal
Read More | Posted Jun 8, 2018
0/5 13% Action Point (2018) There is just one laugh, from an alcoholic bear tipping back a can of Schlitz in its snout. This happens in the first two minutes. Johnny Knoxville and company know it's funny, too, because they repeat it 75,283 times -one time for each minute left.‐ Midwest Film Journal
Read More | Posted Jun 1, 2018
2.5/5 70% Adrift (2018) A more emotionally engaging bit of misery business next to the cheeky exploitation of "47 Meters Down" or "The Shallows." But its bombast weighs down a buoyant romance and its structure increasingly intrudes on any momentum the performers build.‐ Midwest Film Journal
Read More | Posted Jun 1, 2018
2.5/5 87% Upgrade (2018) Seems headed toward glory days of David Cronenberg or Paul Verhoeven before settling for intermittently amusing ways to separate heads from bodies. When it comes to separating money from wallets, there has been better, and worse, sci-fi goofiness.‐ Midwest Film Journal
Read More | Posted Jun 1, 2018
3/5 70% Solo: A Star Wars Story (2018) The first act is glacial, the extended universe connections weak and the entire concept and execution of L3 abysmal. But Ron Howard's cliffhanger confidence in the action and the smoky, alluring cinematography from Bradford Young carry it through.‐ Midwest Film Journal
Read More | Posted May 29, 2018
3/5 53% Bad Samaritan (2018) Often stump-dumb. Its own title doesn't make much sense. More interesting than good, as you'll see if you stumble onto it on a streaming service in a few months. After all, it's not always about the image you're seeing, but the light behind it.‐ Midwest Film Journal
Read More | Posted May 7, 2018
4.5/5 84% Avengers: Infinity War (2018) Only now could the MCU arrive at a place where bluffs can be irrefutably called and gauntlets, real or metaphorical, can be thrown down. With audacity and thoughtfulness, "Infinity War" upends the comparative breeziness of all that came before it.‐ Midwest Film Journal
Read More | Posted Apr 25, 2018
4/5 95% A Quiet Place (2018) A tension machine with a tender mien. If all you care about is creature design, imagine all of your sharp-edged anxieties given teeth, pincers and an abnormal sense for finding you no matter how well you hide. Scary enough for you? It should be.‐ Midwest Film Journal
Read More | Posted Apr 6, 2018
4/5 83% Blockers (2018) A raucously funny, thoughtfully reflective sex comedy that demystifies teen intercourse, pokes holes in gender-based double standards of lost virginity, and encourages kindness and empathy among everyone at the story's center.‐ Midwest Film Journal
Read More | Posted Apr 3, 2018
5/5 81% Seven (Se7en) (1995) It's about magnitudes of corruptibility and fallibility, how we all fall prey to them and yet, so we hope, press on. Watching as a teenager in 1995, I felt the fear of what could test me. Today, I watch and fear that I've not yet really been tested.‐ Midwest Film Journal
Read More | Posted Apr 1, 2018
3.5/5 79% Unsane (2018) Steven Soderbergh again splits a difference between genre mess-around and meaningfully mining modern anxieties. And while he's hardly the first to make a film on an iPhone, his visuals feel dangerous -familiar yet foreign, like smuggled contraband.‐ Midwest Film Journal
Read More | Posted Mar 23, 2018
1/5 44% Pacific Rim Uprising (2018) An odd subtitle for a movie with all the insurgent energy of a senior dog splayed in the sun. Yet another fiscally and creatively timid sequel returning only the affordable actors and pandering to China by casting its national stars in nothing roles.‐ Midwest Film Journal
Read More | Posted Mar 22, 2018
3/5 40% The Strangers: Prey At Night (2018) Director Johannes Roberts employs a brutal smash-and-grab burgling of comfort - percussive, not concussive. He leans into a John Carpenter aesthetic and leans on synthesizers and fog machines. The film leaves scars without merely scorching the earth.‐ Midwest Film Journal
Read More | Posted Mar 11, 2018
3.5/5 44% The Hurricane Heist (2018) The most persuasive movie jail parole hearing in years, Rob Cohen's latest is genially goofy action reliant on both strong stunt work and cheerily second-rate visual effects. Whatever pun title you throw its way ("Dante's Leak"?) is out of affection.‐ Midwest Film Journal
Read More | Posted Mar 11, 2018
4/5 94% A Fantastic Woman (Una mujer fantástica) (2018) At every turn, "A Fantastic Woman" chooses a bolder path of realization over revelation and intimacy over inclusion - one on which Marina learns that her journey is, at least for right now, one in which any comforts found must be solitary.‐ Midwest Film Journal
Read More | Posted Mar 9, 2018
1/5 24% The 15:17 to Paris (2018) Here is Eastwood's latest warm-milk paean to embattled American heroism, hanging a hat on God-and-guns homilies rather than challenging truths about human violence, military service, religious fervor or moral quandary that he mined just 12 years ago.‐ Midwest Film Journal
Read More | Posted Feb 8, 2018
1/5 19% The Cloverfield Paradox (2018) It feints at a parable for paranoia in an age of weaponized information. Instead, it's a reminder that what we love can be quickly ripped from us. After all, who knew when they woke up Sunday that the Cloverfield franchise would be dead hours later?‐ Midwest Film Journal
Read More | Posted Feb 5, 2018
2.5/5 65% A Futile and Stupid Gesture (2017) However fitting that a film about a man at existential odds with himself is itself at odds with its essential components, "A Futile and Stupid Gesture" could still have benefited from a bit more punch-up.‐ Midwest Film Journal
Read More | Posted Jan 26, 2018
3/4 87% The Aviator (2004) Solidly entertaining and visually lush, but this is uncharacteristically safe territory for a filmmaker who relishes risk and grittiness.‐ Midwest Film Journal
Read More | Posted Jan 25, 2018