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 7.1 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: 99 out of 293
  2. Negative: 45 out of 293
293 movie reviews
    • 56 Metascore
    • 70 Nick Pinkerton
    Good for Nothing has a nice comic sense of the brushfire eruptions of Western violence.
    • 60 Metascore
    • 70 Nick Pinkerton
    An epic by Scandinavian standards, Manus's period re-creation is lavish-but the too-polished rental décor doesn't create a living past.
    • 47 Metascore
    • 70 Nick Pinkerton
    Although it doesn't worry itself with dialectic complexities, Hotel Transylvania succeeds on the level of entertainment.
    • 54 Metascore
    • 70 Nick Pinkerton
    It's the latest installment in what now forms a lightly likable trilogy of films based on Jeff Kinney's Wimpy Kid books.
    • 53 Metascore
    • 70 Nick Pinkerton
    Though Wanderlust finally laughs off the real discomforting conclusion that it's edging toward, it's gut-busting funny when mocking their hopeless options.
    • 63 Metascore
    • 70 Nick Pinkerton
    With a small, well-chosen cast, sly script, and slippery, ambivalent characters, The Last Exorcism gives a welcome titty-twist to the demonic-possession movie revival.
    • 79 Metascore
    • 70 Nick Pinkerton
    Despite the efforts of many interviewees to seem broad-minded, Nicoara has a knack for ferreting out moments that reveal actual Romanian attitudes.
    • 75 Metascore
    • 70 Nick Pinkerton
    de Oliveira's film is a musical of a sort, its quietude occasionally lifted by work songs or chorales.
    • 61 Metascore
    • 70 Nick Pinkerton
    This self-consciously modern movie contains classical pleasures.
    • 41 Metascore
    • 70 Nick Pinkerton
    And when the F-14s came out for a triumphant flyover, I looked around the room to find the moron who was applauding only to realize that it was me.
    • 65 Metascore
    • 70 Nick Pinkerton
    Kekilli, more than an unofficial spokeswoman for rebellious Euro-Muslim youth, sells a simple and deterministic story through her sheer presence and precise reaction shots.
    • 72 Metascore
    • 70 Nick Pinkerton
    The best bits - the powerful instrument called Five Blind Boys of Mississippi, for example - more than speak for themselves.
    • 58 Metascore
    • 70 Nick Pinkerton
    Here is the irony: Trouble With the Curve embodies all of the values it espouses - it is an old-fashioned, proficient, amiable, and decent movie - but it has no instinct.
    • 66 Metascore
    • 70 Nick Pinkerton
    Splice is a queerly funny movie, attuned to the absurd.
    • 87 Metascore
    • 70 Nick Pinkerton
    All of this builds into the film's last image, Elena's family finally welcomed into Vladimir's apartment, as the cautious, controlling, abstemious bourgeoisie are overtaken by the heedlessly fertile lower orders, the temporary inheritors of a terribly weary earth.
    • 70 Metascore
    • 70 Nick Pinkerton
    These self-imposed limitations prevent Teddy Bear from having the breadth of a great work, but they give it the coherence of a good tale, simply told.
    • 72 Metascore
    • 70 Nick Pinkerton
    Park's view - clearly inscribed in his well-structured, practically chapter-headed ("After Hours," "Payday," "Back at the Village") documentary - is that the hideous working conditions and low wages are due to man-made avarice; the workers, though, tend toward a fatalism based in religious predestination.
    • 58 Metascore
    • 70 Nick Pinkerton
    Although the movie is overreliant on chintzy-looking and rather corny historical reenactments, these are counterbalanced by anecdote-rich interviews, including descendants of Huberman's first orchestra, human testament to the family tree of Israeli musicianship that he planted.
    • 51 Metascore
    • 70 Nick Pinkerton
    If Iron Fists is sometimes badly made, it is refreshingly badly made. It has a homemade charm that comes from a sense of having gestated in a lifelong obsession.
    • 65 Metascore
    • 70 Nick Pinkerton
    Di Gregorio's performance sets the tone of dim hope and quiet forbearance, telling the story through reactions: an ever-accommodating smile that shades into a wince; sparkling, heavy-lidded eyes betrayed by vexed brows.
    • 46 Metascore
    • 70 Nick Pinkerton
    Here, the familiar tale is retold with concessions to feminist self-determination and camp humor, bending the Grimm Brothers' tale without infringing on its basic beauty.
    • 46 Metascore
    • 70 Nick Pinkerton
    Cage will likely not earn a second Oscar here, but he and director Jon Turteltaub (National Treasure) make leftovers into fine PG malarkey with their hokey naïveté and prankish hocus-pocus.
    • 77 Metascore
    • 70 Nick Pinkerton
    Almost as much as the play itself, the rehearsals are staged; the inmates learning to act, then, are acting like inmates who are learning to act. This leads to some on-the-nose scenes in which they observe the parallels between the text and their own lives.
    • 73 Metascore
    • 70 Nick Pinkerton
    Though the PR bit is right on, Khodorkovsky goes some way toward questioning the guilt.
    • 52 Metascore
    • 70 Nick Pinkerton
    We need visionaries-but also solid craftsmen who seem to enjoy their work. Insidious is the product of the latter. It doesn't build a better haunted house but, when on its game, reminds us of the genre's pleasures.
    • 76 Metascore
    • 70 Nick Pinkerton
    Our subject retains a noticeable streak of pride in his expertise, though falters when discussing the killing of women. Hoping for his own salvation, the converted killer now claims the scales have fallen from his eyes, but his executioner's hood remains in place to the end - as does the mephitic air of timeless evil that hangs over El Sicario.
    • 62 Metascore
    • 70 Nick Pinkerton
    Scenes showing the tricky process of acclimatizing a child to new surroundings, and the patchwork of experiences that make up an education - both Asia's and Tairo's - are grounded by entirely affectless performances, not least that of little Asia Crippa.
    • 59 Metascore
    • 70 Nick Pinkerton
    More than the marquee names, the second bananas keep the movie bobbing along: Broderick's pharmaceutically vague hangdog act is perfect ("If you need me, I'll be living in this box"), while Peña turns out to be a fine comedian, an enthusiastically yipping dumb puppy here.
    • 67 Metascore
    • 70 Nick Pinkerton
    There's an overapplication of split-screen and woozy soundtrack cues to this end, but Lister Jones and Rosen do an appealing back-and-forth with lively dialogue, not dulled in the interest of realism.
    • 66 Metascore
    • 70 Nick Pinkerton
    Delhi Belly's rare singing-and-dancing production numbers play classical Bollywood glitz for pure kitsch, the Ram Sampath–composed soundtrack otherwise tending toward up-tempo sing-along rock, including a hit song ("DK Bose") with a subliminally dirty chorus.

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