Nick Pinkerton
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For 292 reviews, this critic has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 6.9 points lower than other critics. (0-100 point scale)

Nick Pinkerton's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 The Tree of Life
Lowest review score: 0 30 Beats
Score distribution:
  1. Positive: 98 out of 292
  2. Negative: 45 out of 292
292 movie reviews
    • 56 Metascore
    • 60 Nick Pinkerton
    Based very loosely on a short story by "I Am Legend" author Richard Matheson, Real Steel in fact comes closer to road-bonding movies featuring children and hesitant papas: "Paper Moon" or "Over the Top," say.
    • 49 Metascore
    • 60 Nick Pinkerton
    The plot is a chaos of underdeveloped relationships and frayed loose ends, but every so often, Mann does something so right that it makes this seem less a matter of narrative disorganization than a commentary on the anarchy intrinsic to any investigation.
    • 76 Metascore
    • 60 Nick Pinkerton
    Though Submarine isn't a dull head-movie, amid the bells and whistles, Roberts seems less its star than its cameraman.
    • 60 Metascore
    • 60 Nick Pinkerton
    "Afterschool Special" stuff, but the ensemble rings quite true in their coping processes, as director David Schwimmer proves adept at tracking rogue emotions that no closing "Ordinary People" clench can satisfactorily resolve.
    • 51 Metascore
    • 60 Nick Pinkerton
    No one, however, could mistake Contraband for anything but what it is: a shift-job genre movie - not a bad day's work, content to match the blocky trudge of its star rather than attempt panache.
    • 72 Metascore
    • 60 Nick Pinkerton
    Punctuating views of the bucolic countryside and sky attest to nature or God's indifference to human suffering, but such formalist touches don't overwhelm the responsive ensemble work in this resourceful, taboo-prodding sickie.
    • 45 Metascore
    • 60 Nick Pinkerton
    The most spot-on scenes show passive-aggressive hipster clerks snorting at Keith's flyers for a comeback fundraiser rave and a city suffocating on its own cool.
    • 63 Metascore
    • 60 Nick Pinkerton
    Fight fans will still find much of interest, including some surreptitious footage of Don King unsuccessfully wooing the young brothers by "playing" Mozart on a player piano.
    • 64 Metascore
    • 60 Nick Pinkerton
    Farina is un-self-conscious and true enough to alchemize cliché.
    • 69 Metascore
    • 60 Nick Pinkerton
    Améris's recipe here calls for everything in moderation, resulting in a movie that never threatens to offend nor, particularly, to delight, though it does offer a good view on a modestly charming actors' duet.
    • 63 Metascore
    • 60 Nick Pinkerton
    Once that point is made, this push-pull settles into a certain lulling monotony, wandering a wilderness of wires, cooling towers, and a thousand other inscrutable devices, but it is a monotony with an undertone of menace.
    • 38 Metascore
    • 60 Nick Pinkerton
    Seeking Justice is the kind of effective middle-range pulp thriller that has lately become an endangered species.
    • 52 Metascore
    • 60 Nick Pinkerton
    The humor doesn't only target south of the border. Like any good genre product, Casa also smuggles in rude social criticism.
    • 42 Metascore
    • 60 Nick Pinkerton
    An agent of spiritual regeneration and showman, Perry's dramaturgy is as subtle as a Bible-thump, but until a logy last act that has Levy disguised as a faux-Frenchman, his instincts are on-target here.
    • 67 Metascore
    • 60 Nick Pinkerton
    There's material from a phone-in psychoanalysis center, the dumping grounds of London's surveillance-camera feed, and the detox tent at some massive biergarten - like much of the film, mordantly funny in a kind of pursed-lips, arched-eyebrows way.
    • 53 Metascore
    • 60 Nick Pinkerton
    Hall's committed performance validates even the maddest developments, and she slips into the period well, recalling Virginia Woolf in her lank, swan-necked bearing and tremulous suffering.
    • 61 Metascore
    • 50 Nick Pinkerton
    There is the impression, deadly to the sense of fun, that the talent here actually thought they were remaking a classic.
    • 59 Metascore
    • 50 Nick Pinkerton
    "We're all mixed bags" is the conclusion of unwieldy mixed bag Wall Street: Money Never Sleeps.
    • 64 Metascore
    • 50 Nick Pinkerton
    Following the clues, The Other Guys turns more hectic than antic, and somebody didn't pack enough comedy for this long trip.
    • 55 Metascore
    • 50 Nick Pinkerton
    Playboy "gave us some of the best literature of our time," opines noted literary critic Tony Bennett, among a cast of mostly ridiculous and redundant talking heads.
    • 53 Metascore
    • 50 Nick Pinkerton
    Where "The Last Exorcism" was sustained by artfully balanced skepticism and a feel for character, Paranormal 2, putatively directed by Tod Williams, can only hold an audience with the understood promise of big jolts around the corner.
    • 44 Metascore
    • 50 Nick Pinkerton
    Devil is a Night Gallery reject worth experiencing only to gape at a "spirituality" that falls somewhere between Dostoyevsky and Jack Chick, and to laugh that such daring feats of narrative illogic were undertaken with a straight face.
    • 79 Metascore
    • 50 Nick Pinkerton
    There's a human tragedy somewhere here-but aggrandized puppy-love romance and stylish revenge fantasy is all that lingers.
    • 44 Metascore
    • 50 Nick Pinkerton
    The archetypal names are pure Walter Hill, the single-minded grudge mission borrowed from Donald Westlake's Hunter books - fine antecedents, though director George Tillman Jr.'s style is anything but terse, indulging rote slo-mo swagger set to secondhand musical cues.
    • 76 Metascore
    • 50 Nick Pinkerton
    More than once does To's grandiose imagism miraculously grant this rote thriller a gleam of the sublime, as in a trash-dump face-off staged as an epic field maneuver, or a campground shoot-out timed to the fickle light of the moon.
    • 57 Metascore
    • 50 Nick Pinkerton
    Those with a higher tolerance for bumptious jestering-from a yipping and mincing Xiao, or Cheng Ye as a bucktoothed jelly-belly-may, however, cry Masterpiece. They are instructed to seek out the longer Chinese cut, which apparently packs in more such interminable shtick, broad as the Yangtze.
    • 43 Metascore
    • 50 Nick Pinkerton
    It is uncertain, though, how this material is served by disheveled cinematography, shooting handheld on the Hi 8 camcorder I had in high school, apparently editing on two VCRs, and flooding the mix with Forever 21 dressing-room music.
    • 56 Metascore
    • 50 Nick Pinkerton
    Staying squarely with those victims, what Sequestro does crudely do is communicate the only really sensible platform-an abhorrence of cruelty.
    • 69 Metascore
    • 50 Nick Pinkerton
    Penn's lachrymosity and hotheaded indignity seem cartooned against Watts's contained conviction-though more incongruous couples have certainly existed-but the film's assertion of Plame and Wilson as real people rather than characters consists mostly of draining them of anything compelling.
    • 33 Metascore
    • 50 Nick Pinkerton
    Black, looking like an unwashed clothes pile and capering in familiar "Uncle Jack" style, is a good babysitter, his cross-dressing turn in a doll's house a highlight.
    • 23 Metascore
    • 50 Nick Pinkerton
    It's exactly what you thought it would be: A plagiarized, campus-set "Single White Female" pitched to teens.
    • 68 Metascore
    • 50 Nick Pinkerton
    The grungy setting and unflattering photography are only camouflage for callow, creeping sentimentality.
    • 36 Metascore
    • 50 Nick Pinkerton
    It's clear that Something Borrowed finds it easier to tell us about relationships than to show us them under way.
    • 48 Metascore
    • 50 Nick Pinkerton
    Lackluster screenwriting and the absence of actorly communion are breezed past with monotonous banter, as is the fleetingly visible plot.
    • 68 Metascore
    • 50 Nick Pinkerton
    Adventures is an awesome movie mechanism, but awe comes at a cost. The Tintin character is something like a blank spot at the movie's center, most vivid (unfortunately) as a plucky, priggish motivational speaker when he coaches Haddock out of a drinking problem.
    • 45 Metascore
    • 50 Nick Pinkerton
    Possibly worth seeing if you are 13, as the hot Rihanna-looking chick shows sideboob.
    • 56 Metascore
    • 50 Nick Pinkerton
    Here is one glimmer of truth in what's otherwise a deliberately unfinished fraud - another "primitive" postwar antique repurposed for boutique sale.
    • 46 Metascore
    • 50 Nick Pinkerton
    Given something as simple as Theseus's rousing prebattle speech, maximalist Singh is helpless, but when he gets whole armies in on the act, you've got something to behold.
    • 50 Metascore
    • 50 Nick Pinkerton
    Emmerich's movie is sporadically enjoyable trash with better performances than it has any right to: Hogg's verminous villain leaves a trail of cold, oozing hisses.
    • 50 Metascore
    • 50 Nick Pinkerton
    Though director Jonathan Hensleigh (The Punisher) perks up when filming violence, the atmosphere throughout is past-prime, stymieing any strut.
    • 57 Metascore
    • 50 Nick Pinkerton
    For all this Snow White's visual ornamentation, there's no sense of narrative priority - the filmmakers can't see the Dark Forest for the trees.
    • 72 Metascore
    • 50 Nick Pinkerton
    The Double Hour sustains a minimum of attention thanks to the naturally beguiling presence of long-stemmed Rappoport-but what might've a less cautious director done with the material?
    • 32 Metascore
    • 50 Nick Pinkerton
    Cage-ophiles will find some delectable freakouts in Blaze's transformation - or near transformation - scenes. Otherwise, the committee-penned script combines yokel-friendly haw-haw irreverence (non-sequitur cutaways to the Rider pissing in a flamethrower pattern) and sweaty monologues about "controlling the Rider" (the character is basically a mean drunk's superhero).
    • 70 Metascore
    • 50 Nick Pinkerton
    Danhier has made a lifestyle-nostalgia oral history after the popular "Please Kill Me" model, but gets none of the tall tales and internecine grudging that made that tome so entertaining.
    • 65 Metascore
    • 50 Nick Pinkerton
    With this overreaching Prometheus, Scott seems a bit like David carefully arranging his hair in imitation of O'Toole's Lawrence. He can still mimic the appearance of an epic, noble, important movie - but the appearance is all.
    • 72 Metascore
    • 50 Nick Pinkerton
    The characterizations never comfortably accommodate Haroun's pat metaphor, though his stoic visual storytelling has an oblique gravity.
    • 52 Metascore
    • 50 Nick Pinkerton
    Ignoring all but the most obvious tensions in the Uday-Latif symbiosis, Devil's Double is static drama, with Michael Thomas's script establishing relationships as if perfunctorily pressing buttons marked "Father-Son Dynamic" and "Forbidden Love Affair," failing to dignify these themes with individuality.
    • 71 Metascore
    • 50 Nick Pinkerton
    The idea is to show love in incidentals rather than big scenes, but the fragments selected do not build to any significance - this is a rote story, arbitrarily scattered into abstraction.
    • 74 Metascore
    • 50 Nick Pinkerton
    Undeniably long, Panavision-wide, but of questionable depth.
    • 40 Metascore
    • 50 Nick Pinkerton
    The villains come across as individuals rather more compellingly than do the film's ostensible heroes, mostly mouthpieces for warrior credo recited in voiceover.
    • 42 Metascore
    • 50 Nick Pinkerton
    While Ironclad captures the casual cruelty and flesh-and-bone violence of the 13th century, it fails to do the same in the more intimate material set in the downtime between assaults.
    • 46 Metascore
    • 50 Nick Pinkerton
    Such an abundance of "epiphanies," one after another, amount to a tactical assault on viewer sentiments. The deluge of tears is Daldry's idea of pathos, but to these eyes, it's Oscar-trolling 9/11 kitsch.
    • 57 Metascore
    • 50 Nick Pinkerton
    Slater's book was evidently an ax-grinder, and the resulting film, directed with tone-deaf comic rhythm by S.J. Clarkson, shows pity and bemusement for the people raising Nigel but rarely human interest in them. More damning still, even the food looks ugly.
    • 54 Metascore
    • 50 Nick Pinkerton
    Puncture is proudly "Based on a True Story." As is so often the case, this means an indifference to "true" human relationships in favor of crusading self-righteousness.
    • 63 Metascore
    • 50 Nick Pinkerton
    The result is not without beauty, though at a certain point, one begins to notice that each new muse rather resembles the previous, a uniformity that restrains the film from true symphonic swell.
    • 50 Metascore
    • 50 Nick Pinkerton
    It might be sufficient that Dog Sweat exists at all - but only if you believe intention trumps execution.
    • 38 Metascore
    • 50 Nick Pinkerton
    Luxuriantly-lashed Dekker leads the most attractive cast of small-towners this side of "Twin Peaks" but, though the setting is nearly as artificial as Lynch's, the melodrama is played quite straightforwardly here, even as the dialogue frequently borders on parody.
    • 58 Metascore
    • 50 Nick Pinkerton
    The narrative often seems at odds with the director's pictorialism, trudging when it should be striding toward the climax, isolating the performers on their marks when everything depends on taut blood-ties interconnection.
    • 48 Metascore
    • 50 Nick Pinkerton
    It is suggested that Trungpa was in possession of yeshe chölwa-the title's "crazy wisdom" - and, as a sort of holy fool, his apparent misbehavior could be read as a manifestation of higher spiritual truths. If you're determined to see something, it's easy to find it - so those inclined to interest in Tibetan Buddhism will discover something here.
    • 54 Metascore
    • 50 Nick Pinkerton
    More often, Mekas's focus on "names" comes off as a cloistered insensitivity to the wider world.
    • 63 Metascore
    • 50 Nick Pinkerton
    Firmly in the unassuming indie vein, Return treads lightly and leaves little imprint.
    • 56 Metascore
    • 50 Nick Pinkerton
    The interplay between Murray and Barr is closely and carefully handled, but when the monotonous squib-popping subsides, the movie is often static and talky, lapsing into criticism-hedging qualifications and anti-everything speechifying.
    • 67 Metascore
    • 50 Nick Pinkerton
    She (Kazan) also wrote the screenplay, which begs interpretation as a frustrated actress's commentary on the way that even ostensibly serious writers write women - that is, for maximum convenience. Still, the direction, from Jonathan Dayton and Valerie Faris (Little Miss Sunshine), is never more than workmanlike.
    • 60 Metascore
    • 50 Nick Pinkerton
    The language of ground-and-pound fighting remains untranslated for those not fluent in MMA, though ample space is given to the men's discussion of their individual warrior philosophies, illustrated with quotes from Nietzsche, P.T. Barnum, and Virgil.
    • 66 Metascore
    • 50 Nick Pinkerton
    With Solondz's old-hat funeral deadpan and his efforts to pass off Abe's adolescent rage as elevated insight, Dark Horse is neither incisively black-comic nor particularly attuned to human behavior - proof that some directors, at least, do end up the way they started out.
    • 62 Metascore
    • 50 Nick Pinkerton
    Delpy, of course, finds her father charming because he is her father, misses her mother for the same reason, and treasures her neuroses because they are her own. What viewers miss is anything inviting us to feel the same way.
    • 69 Metascore
    • 50 Nick Pinkerton
    It's quibbling to draw up columns denoting what Lanthimos, a difficult but undeniable talent, does right and does wrong. He's seemingly working intuitively here, and whatever missteps he makes while feeling his way forward, he manages to pass quite near to one of the essential conundrums of being human.
    • 36 Metascore
    • 50 Nick Pinkerton
    The Collection doesn't have much to recommend it beyond a first-reel bloodbath rivaling "Blade" and "Death Ship."
    • 94 Metascore
    • 50 Nick Pinkerton
    Haneke remains, by his rules, infallible. So what? A movie in which incident is as spare as it is in Amour can certainly be great; a movie in which ideas and feelings are so sparse cannot.
    • 55 Metascore
    • 50 Nick Pinkerton
    Van Sant knows how to display the common touch, but the movie is a hard sell whose ending is never in doubt.
    • 53 Metascore
    • 50 Nick Pinkerton
    To the atheist, the various interpretations might seem as so many angels dancing on the head of a pin, but any admirer of good talk will be impressed by the scholasticism and pulpit-trained oratory here, as well as some choice fighting words: "Evangelicism in America is what the pharisees were to ancient Egypt."
    • 59 Metascore
    • 50 Nick Pinkerton
    The least one should hope for from another adaptation of Pierre Choderlos de Laclos's Dangerous Liaisons is savory, salacious trash, but nothing in Hur Jin-ho's tony new version approaches the dizzying depths of Sarah Michelle Gellar spelling out the conditions of her sex bet with Ryan Phillippe ("You can put it anywhere . . .") in 1999's "Cruel Intentions."
    • 43 Metascore
    • 40 Nick Pinkerton
    The inevitable all-you-can-eat orgy of zombies pulling stringy mouthfuls away from red, wet rib cages may satisfy gorehounds, but big set pieces showing how atrophied Romero's cutting and tactical framing have become is depressing to anyone who has valued his films for more than just splatter.
    • 45 Metascore
    • 40 Nick Pinkerton
    (It) notably liberated itself from the fusty tradition that a sex comedy should either titillate or tickle an audience.
    • 54 Metascore
    • 40 Nick Pinkerton
    None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
    • 31 Metascore
    • 40 Nick Pinkerton
    Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 45 Metascore
    • 40 Nick Pinkerton
    Miral is a very flat, fuddled movie, an at-odds-with-itself partisan work, its convictions diffused in a warm soak of style.
    • 57 Metascore
    • 40 Nick Pinkerton
    All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
    • 59 Metascore
    • 40 Nick Pinkerton
    The production design is nice enough, but Bouchareb's four-country co-production isn't an epic-it's just long.
    • 62 Metascore
    • 40 Nick Pinkerton
    It's clear that Hughes knows his Midnight Oil, but he's ignorant of the craft of economic action filmmaking. However arguably noble his film's intent to redress historical grievance, a poorly filmed shoot-out is never more than exactly that.
    • 38 Metascore
    • 40 Nick Pinkerton
    Michael's motivations remain arbitrary and inscrutable, right down to his entry into the seminary. This is brought up by a number of characters, who interpret his implausible career decision as A Sign. It is-of bad writing.
    • 33 Metascore
    • 40 Nick Pinkerton
    His (Snyder) mash-up set pieces ("Call of Duty" meets "Castlevania," etc.) blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.
    • 52 Metascore
    • 40 Nick Pinkerton
    Sillen ennobles the havoc of his life with a measure of down-and-out romance, but no moments really puncture a viewer, and the darkness is all too easily shaken off.
    • 28 Metascore
    • 40 Nick Pinkerton
    The makeup department's glommed-on plague pustules are fantastic, but the concession to modern technology in a badly rendered last-act CGI demon, cut and pasted from a Diablo II screen-grab, is so eminently lame as to cure all fear of hellfire.
    • 45 Metascore
    • 40 Nick Pinkerton
    The crazy-barista melodrama-slapstick collision seems not like a nimble twist, but tone-deaf blundering-what once came naturally now seems like trying too hard, as the Farrellys face their own mid-life crisis.
    • 64 Metascore
    • 40 Nick Pinkerton
    Too scattered in its arguments and piecemeal in its sources to weave together a convincing institutional condemnation.
    • 42 Metascore
    • 40 Nick Pinkerton
    It's not a total wash. Faris's ample talents are squandered with a should-I-stay-or-should-I-go romantic dilemma, but there's just enough of Demetri Martin doing a prick act, and Fogler excels as a Rabelaisian dynamo.
    • 50 Metascore
    • 40 Nick Pinkerton
    Really, the movie has absolutely everything except the light touch required for unaffected charm - the mugging is savage - a single piece of memorable original music, or a production number that's celebratory rather than trampling.
    • 45 Metascore
    • 40 Nick Pinkerton
    "Arrested Development's" Tony Hale nearly overcomes the gently worthless script, playing Annie's dork suitor, and convincingly transforming himself from toad to prince.
    • 31 Metascore
    • 40 Nick Pinkerton
    The cocky presumption of charm that isn't actually there is precisely the problem with action-comedy This Means War.
    • 40 Metascore
    • 40 Nick Pinkerton
    Ceremony is a callow movie: Winkler exhibits no comprehension of the class anxieties he addresses, and extends precocity into adulthood. That callowness is Ceremony's subject scarcely makes it funnier.
    • 51 Metascore
    • 40 Nick Pinkerton
    If Skateland is the sort of work Ritchie's future holds, it's proof that some talents are better off staying home.
    • 49 Metascore
    • 40 Nick Pinkerton
    Anyone who's seen a martial-arts picture expects a certain amount of thumb-twiddling between the big numbers, but director Andrew Lau's handling of exposition is markedly poor, distended with rubbish plotlines, flashy sadism, and overwrought jingo.
    • 22 Metascore
    • 40 Nick Pinkerton
    Aspires to nothing more or less than carrying along an audience through a string of unremarkable kills, often involving high-jumping fish.
    • 48 Metascore
    • 40 Nick Pinkerton
    Lockout is, not unexpectedly, a potluck of derivative references.
    • 46 Metascore
    • 40 Nick Pinkerton
    Par for the course in blowout CGI adaptations, a great deal of detail and bustle is gained at the expense of charm - for all the miracles these armies of animators can achieve, they have yet to successfully reproduce a humble artist's line.
    • 58 Metascore
    • 40 Nick Pinkerton
    Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
    • 42 Metascore
    • 40 Nick Pinkerton
    Possible resulting "fun" is only slightly mitigated by contemplation of the wearisome decadence of American popular culture.
    • 78 Metascore
    • 40 Nick Pinkerton
    The Dark Knight Rises is a shallow repository of ideas, but as a work of sheer sensation, it has something to recommend.
    • 40 Metascore
    • 40 Nick Pinkerton
    Boom was produced under the auspices of pal Adam Sandler's Happy Madison Productions, which has a tendency toward broad-comic morality tales and multiplex populism that often shades into remedial-level pandering.