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 7.2 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
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 60 Nick Pinkerton
    Farina is un-self-conscious and true enough to alchemize cliché.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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).
    • 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.
    • 59 Metascore
    • 50 Nick Pinkerton
    "We're all mixed bags" is the conclusion of unwieldy mixed bag Wall Street: Money Never Sleeps.
    • 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.
    • 63 Metascore
    • 50 Nick Pinkerton
    Firmly in the unassuming indie vein, Return treads lightly and leaves little imprint.
    • 45 Metascore
    • 50 Nick Pinkerton
    Possibly worth seeing if you are 13, as the hot Rihanna-looking chick shows sideboob.
    • 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.
    • 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.
    • 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.
    • 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.
    • tbd Metascore
    • 50 Nick Pinkerton
    The most genial professed social Darwinist you could ever meet, Rice has never stopped to explain how much of his persona is a goof. Likewise, Larry Wessel's documentary portrait Iconoclast doesn't bother to synopsize its subject for the novice before setting off on its four-hour journey.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 68 Metascore
    • 50 Nick Pinkerton
    The grungy setting and unflattering photography are only camouflage for callow, creeping sentimentality.
    • 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.

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