Nick Pinkerton

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For 293 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 8.6 points lower than other critics. (0-100 point scale)

Nick Pinkerton's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Little Fugitive (re-release)
Lowest review score: 0 30 Beats
Score distribution:
  1. Positive: 99 out of 293
  2. Negative: 45 out of 293
293 movie reviews
    • 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.
    • tbd Metascore
    • 40 Nick Pinkerton
    More irksome, the clips, often improperly masked or displaying conversion issues, are rarely drawn from the best available materials. This scruffiness would be easily forgiven if there were something sufficiently "innovative" in Cousins's approach to transcend the cut-rate production value. Instead, this Story, for all its claims of rewriting, is too reliant on received film-buff wisdom.
    • 49 Metascore
    • 40 Nick Pinkerton
    The long takes and lack of theatrical affect are presumably meant to heighten the realism by dispensing with film - fiction artifice, but in the process, everything that might lure a viewer - the seduction of style and plot or an engagement with characters - is forgotten.
    • 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.
    • 31 Metascore
    • 40 Nick Pinkerton
    Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 58 Metascore
    • 40 Nick Pinkerton
    The same laxity given to the performers extends, unfortunately, to the film's structuring, a lazy Susan rotation between storylines and monotonous settings.
    • 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.
    • 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.
    • tbd Metascore
    • 40 Nick Pinkerton
    Bereavement-miraculously as dull as its title-is neither far gone enough to be funny nor well thought-out enough to be disturbing.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Nick Pinkerton
    (It) notably liberated itself from the fusty tradition that a sex comedy should either titillate or tickle an audience.
    • 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.
    • 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.
    • 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.
    • 51 Metascore
    • 40 Nick Pinkerton
    Like a child bluffing at knowing a secret, St. Nick teases and frustrates.
    • 49 Metascore
    • 40 Nick Pinkerton
    Silent House does superficially spiff up the haunted-house movie, but it's not built to last.
    • 67 Metascore
    • 40 Nick Pinkerton
    The film is flecked with moments of interest, though this decidedly minor and not particularly cinematographic affair is clearly best suited to television.
    • 40 Metascore
    • 40 Nick Pinkerton
    Scaling new heights of inessentiality is The Beat Hotel, which chronicles the period, roughly 1958–63.
    • 54 Metascore
    • 40 Nick Pinkerton
    None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 40 Nick Pinkerton
    Rather than viewing moral chaos from the eye of a storm, director David Pomes watches his movie blow off into the storm itself.
    • 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.

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