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 7.3 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
    • 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.
    • 38 Metascore
    • 60 Nick Pinkerton
    Seeking Justice is the kind of effective middle-range pulp thriller that has lately become an endangered species.
    • 34 Metascore
    • 60 Nick Pinkerton
    Mother's Day is distinguished, at least, by De Mornay's porcelain-smile lampoon of castigating matriarchy.
    • 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.
    • 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.
    • 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
    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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Nick Pinkerton
    "We're all mixed bags" is the conclusion of unwieldy mixed bag Wall Street: Money Never Sleeps.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Nick Pinkerton
    The grungy setting and unflattering photography are only camouflage for callow, creeping sentimentality.
    • 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.
    • 72 Metascore
    • 50 Nick Pinkerton
    The characterizations never comfortably accommodate Haroun's pat metaphor, though his stoic visual storytelling has an oblique gravity.
    • 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?
    • 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.
    • 74 Metascore
    • 50 Nick Pinkerton
    Undeniably long, Panavision-wide, but of questionable depth.
    • 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.
    • 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.

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