For 279 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 6.1 points lower than other critics. (0-100 point scale)

Nick Pinkerton's Scores

  • Movies
Average review score: 53
Highest review score: 100 Little Fugitive (re-release)
Lowest review score: 0 30 Beats
Score distribution:
  1. Positive: 98 out of 279
  2. Negative: 40 out of 279
279 movie reviews
    • 64 Metascore
    • 40 Nick Pinkerton
    Not everything that is human is naturally interesting, and Schleinzer approaches his subject not as an investigator, but as though covering up a crime scene and scrubbing it of anything that might provide insight or empathy or psychological traction.
    • 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.
    • 49 Metascore
    • 40 Nick Pinkerton
    Silent House does superficially spiff up the haunted-house movie, but it's not built to last.
    • 43 Metascore
    • 40 Nick Pinkerton
    To understand Apart's Time-Life Mysteries of the Unknown tommyrot any better, one would need a psychic bond to first-time writer/director Aaron Rottinghaus, for his movie doesn't do much of a job explaining it.
    • 40 Metascore
    • 40 Nick Pinkerton
    Scaling new heights of inessentiality is The Beat Hotel, which chronicles the period, roughly 1958–63.
    • 48 Metascore
    • 40 Nick Pinkerton
    Lockout is, not unexpectedly, a potluck of derivative references.
    • 61 Metascore
    • 40 Nick Pinkerton
    There are moments when the tedium loosens you to melt into the landscape, and you swear you can hear the moss on the rocks start talking.
    • 55 Metascore
    • 40 Nick Pinkerton
    "Wood" is still by far Depp and Burton's best collaboration, exhibiting the balance of tone between kitsch parody and zealous fantasy that's missing in Dark Shadows, less a resurrection than a clumsy desecration.
    • 35 Metascore
    • 40 Nick Pinkerton
    While making a priority of squeezing in every usable bit of celebrity face-time, Mansome passes by potentially interesting digressions without more than a wayward glance.
    • 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.
    • 49 Metascore
    • 40 Nick Pinkerton
    Ultimately, however, People Like Us is infected with the "life-affirming" pox; this means making a narrative priority of redeeming everyone before adequately explaining them.
    • 31 Metascore
    • 40 Nick Pinkerton
    The exuberant editing and puke-into-the-camera edginess indicate a film more interested in boasting of hell-raising than in exorcising it.
    • 36 Metascore
    • 40 Nick Pinkerton
    Much as I want to believe in Cortés, who is clearly talented and ambitious, there is just too much in Red Lights that encourages agnosticism.
    • 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.
    • 43 Metascore
    • 40 Nick Pinkerton
    360
    There are fleeting moments, but Morgan's narrative promiscuity leaves 360 feeling only spread out and empty.
    • 51 Metascore
    • 40 Nick Pinkerton
    Has the parallel between the actor and the mercenary's trade ever been so overt?
    • 39 Metascore
    • 40 Nick Pinkerton
    Anderson['s] lavish visual imagination is matched to a placeholder idea of character that's almost avant-garde in its generic stylization, dialogue buffed of personality by passing through 10,000 previous movies.
    • 45 Metascore
    • 40 Nick Pinkerton
    Taken 2 rarely embodies the values of concision and focus that it extols, and any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills's father-knows-best infallibility.
    • 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.
    • 55 Metascore
    • 40 Nick Pinkerton
    Each segment feels more like an extended trailer for itself than a sound narrative unit. Maybe this incompletion is purposeful, but it's a problem when what's invariably elided or taken for granted is the very human connection and commiseration that is supposedly the most vital force in the universe.
    • 31 Metascore
    • 40 Nick Pinkerton
    Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 18 Metascore
    • 40 Nick Pinkerton
    It's the kind of thing you feel you should laugh at through a phlegmy, hacking cough-and it does get laughs, if inconsistently, predictable given the circumstances of production.
    • 28 Metascore
    • 40 Nick Pinkerton
    With neither the moral bite of satire nor a voluptuary surrender that really basks in shallowness, this is a vague, unsatisfying work.
    • 30 Metascore
    • 30 Nick Pinkerton
    While Sandler has never trafficked in epigrammatic wit, there's a difference between, say, Billy Madison's "Of course I peed my pants--everyone my age pees their pants" or "I Now Pronounce You Chuck and Larry's" shakedown of hetero squeamishness, and this lazy stuff--the difference between smart-dumb and plain-dumb.
    • 74 Metascore
    • 30 Nick Pinkerton
    It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams--and his barren Inception doesn't capture much of either.
    • 35 Metascore
    • 30 Nick Pinkerton
    An unnecessary retelling of rock's dingiest "legend"--ever get the feeling you've been cheated?
    • 27 Metascore
    • 30 Nick Pinkerton
    Game performances and a couple of half-laughs, sure, but this is the screen comedy equivalent of the televised Yule log.
    • 45 Metascore
    • 30 Nick Pinkerton
    Sauvaire, hesitating between a protest picture and a glam-squalid imagist orgy, only succeeds in scattering human rubble across the screen.
    • 25 Metascore
    • 30 Nick Pinkerton
    The most avid fans of merciless mugging will be the sole admirers of the bookending story of Liu Xiaoye's Butcher.
    • 31 Metascore
    • 30 Nick Pinkerton
    Your Highness plays like a dirty-joke blooper reel made by the cast of a junky sword-and-sorcery epic.
    • 52 Metascore
    • 30 Nick Pinkerton
    The enjoyable moments are limited to Alison Brie, funny as Sidney's publicist, and the final recasting of the movie as a backstage diva drama. As ever, the self-reflexive horror stuff is superficial, loveless, and constant-a ladled-on sauce to disguise what you're eating.
    • 55 Metascore
    • 30 Nick Pinkerton
    The film is a burdensome two hours.
    • 41 Metascore
    • 30 Nick Pinkerton
    Graynor is a muddle of kooky indie girlfriend and materialistic fortune hunter; Hanks has neither threat nor pathos at his command.
    • 53 Metascore
    • 30 Nick Pinkerton
    This crude, overlong chunk of kung-fu kitsch lays its scene in a 1920s Republican China, torn by internecine fighting and weighed down by drably expensive production design.
    • 37 Metascore
    • 30 Nick Pinkerton
    If the success of epic storytelling were determined by the sheer number of unnecessary on-screen name tags, 1911 would be a masterpiece. But the small matters of characterization, audience identification, and scene-making are entirely absent here.
    • 59 Metascore
    • 30 Nick Pinkerton
    Weixler is an alert, mobile comedienne who deserves better than this awkward pause, nervous stammer, social-anxiety comedy.
    • 40 Metascore
    • 30 Nick Pinkerton
    It's impossible to imagine how anything this convoluted could have already earned a sequel, but it has.
    • 53 Metascore
    • 30 Nick Pinkerton
    Rid of Me is a bad movie, but at least it's a flailing, innocent badness.
    • 28 Metascore
    • 30 Nick Pinkerton
    Neither intellectually nor viscerally engaging, what The Divide finally offers audiences is the not-terribly-edifying, stagnant experience of being locked in a basement with a pack of assholes.
    • 29 Metascore
    • 30 Nick Pinkerton
    The forced horseplay is entirely without ensemble chemistry, probably because the leads were hired principally as singers/musicians, as this, the directorial debut of former Law & Order: Criminal Intent star Vincent D'Onofrio, is that rarest of mongrel movies: a slasher/musical.
    • 32 Metascore
    • 30 Nick Pinkerton
    It's an overloaded, overwrought, profligate production inclined to hysteria and, in cumulative effect, something like being pelted with scenes until buried alive - but it helps keep it from being boring.
    • 48 Metascore
    • 30 Nick Pinkerton
    Arguably a good lesson for kids about preserving our environment, To the Arctic is definitely a threat to our equally endangered good taste.
    • 44 Metascore
    • 30 Nick Pinkerton
    It's a pathetic missed opportunity - and one occasion of actually going broke by underestimating the intelligence of the American public.
    • 50 Metascore
    • 30 Nick Pinkerton
    It can't sustain interest in the endless unraveling of Molly's psyche, which, as handled by Sánchez, has all the interest of watching an inexplicably untreated wound fester.
    • 24 Metascore
    • 30 Nick Pinkerton
    Add to this that it takes place in the town of Merkin, and you'll get an idea of the labored spirit of dirty-old-man humor that prevails.
    • 47 Metascore
    • 30 Nick Pinkerton
    A cinematic event. It's not every day, after all, that you get to see two great American traditions - guitar/bass/drums rock music and Tin Pan Alley musical theater - so thoroughly, mutually degraded.
    • 50 Metascore
    • 30 Nick Pinkerton
    That even the criminal class has gone sensitive and finicky eco-conscious has some potential for comedy-or drama, as in Oliver Stone's undervalued Savages-but there's no single detail that might convince a viewer that the characters played by Dax Shepard and Bradley Cooper might ever have been compelled to steal for a living, and this alienates the crime picture from any social context or sense of actual danger, making it essentially a celebrity goof-off.
    • 11 Metascore
    • 30 Nick Pinkerton
    It is dreary to envisage the viewer who could become emotionally involved in The Victim, but it does have the kind of slack watchability - lugubrious driving scenes and girl-talk flashbacks pad the movie toward feature length - that make for good late-night TV.
    • 18 Metascore
    • 30 Nick Pinkerton
    The Apparition is not a great or even good haunted-house movie, but it does have the advantage of a memorable setting.
    • 31 Metascore
    • 30 Nick Pinkerton
    On every level this production - from Robinson's callow performance to Vila's hackneyed handheld camerawork, punching beats in the stead of the actors - remains firmly on the level of the obvious.
    • 40 Metascore
    • 30 Nick Pinkerton
    The proximity of horrible headlines scarcely matters - released on any day of any calendar year, Gangster Squad would be a crime against cinematic sensibility.
    • 49 Metascore
    • 20 Nick Pinkerton
    Ten interviews with 10 "name" American and European directors--including Todd Haynes, David Lynch, Bernardo Bertolucci, and Catherine Breillat--diced into a documentary as asinine and fawning as its title suggests.
    • 27 Metascore
    • 20 Nick Pinkerton
    When every injury is repaid with interest, this self-destroying work has nowhere to go but to the credits. Such symmetry is a dismal, barbarian sort of perfection.
    • 52 Metascore
    • 20 Nick Pinkerton
    It is draggily paced and lacks felicity of form; the 3-D is a rip-off and the songs are pap, save a snippet of Etta James singing "At Last" while Bieber's glossy fringe sways in slow-motion.
    • 22 Metascore
    • 20 Nick Pinkerton
    It is part of the film's premise that the movies are only a pretext to serve personal needs. Given how little the murky finished product offers an outside audience, this comes across all too convincingly.
    • 6 Metascore
    • 20 Nick Pinkerton
    A pretend poison pen letter to Hollywood sleaze and excess, Prince of Swine is in fact Toma's application to join the club - hopefully denied.
    • 35 Metascore
    • 20 Nick Pinkerton
    It is plodding, lazily filmed, gassy with James Horner's score, and pads its runtime only by way of tolling repetition.
    • 19 Metascore
    • 20 Nick Pinkerton
    Christian "Direct-to-Video" Slater lends not a shred of credibility to the role of Craig MacKenzie.
    • 45 Metascore
    • 10 Nick Pinkerton
    It's one of the most obnoxious movies ever made.
    • 14 Metascore
    • 10 Nick Pinkerton
    A Little Bit of Heaven demands miracles of its cast to keep proceedings from becoming grindingly mawkish and does not get them.
    • 53 Metascore
    • 10 Nick Pinkerton
    John Dies at the End is a product of a parallel universe where slacker flippancy never got old-and, oh, it is terrible.
    • 20 Metascore
    • 0 Nick Pinkerton
    It is absolutely terrible.