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 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
    • 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.
    • 45 Metascore
    • 50 Nick Pinkerton
    Possibly worth seeing if you are 13, as the hot Rihanna-looking chick shows sideboob.
    • 54 Metascore
    • 50 Nick Pinkerton
    Puncture is proudly "Based on a True Story." As is so often the case, this means an indifference to "true" human relationships in favor of crusading self-righteousness.
    • 57 Metascore
    • 50 Nick Pinkerton
    Slater's book was evidently an ax-grinder, and the resulting film, directed with tone-deaf comic rhythm by S.J. Clarkson, shows pity and bemusement for the people raising Nigel but rarely human interest in them. More damning still, even the food looks ugly.
    • 63 Metascore
    • 50 Nick Pinkerton
    The result is not without beauty, though at a certain point, one begins to notice that each new muse rather resembles the previous, a uniformity that restrains the film from true symphonic swell.
    • 50 Metascore
    • 50 Nick Pinkerton
    Emmerich's movie is sporadically enjoyable trash with better performances than it has any right to: Hogg's verminous villain leaves a trail of cold, oozing hisses.
    • 71 Metascore
    • 50 Nick Pinkerton
    The idea is to show love in incidentals rather than big scenes, but the fragments selected do not build to any significance - this is a rote story, arbitrarily scattered into abstraction.
    • 50 Metascore
    • 50 Nick Pinkerton
    It might be sufficient that Dog Sweat exists at all - but only if you believe intention trumps execution.
    • 46 Metascore
    • 50 Nick Pinkerton
    Given something as simple as Theseus's rousing prebattle speech, maximalist Singh is helpless, but when he gets whole armies in on the act, you've got something to behold.
    • 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.
    • 48 Metascore
    • 50 Nick Pinkerton
    Lackluster screenwriting and the absence of actorly communion are breezed past with monotonous banter, as is the fleetingly visible plot.
    • 54 Metascore
    • 50 Nick Pinkerton
    More often, Mekas's focus on "names" comes off as a cloistered insensitivity to the wider world.
    • 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.
    • 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.
    • 38 Metascore
    • 50 Nick Pinkerton
    Luxuriantly-lashed Dekker leads the most attractive cast of small-towners this side of "Twin Peaks" but, though the setting is nearly as artificial as Lynch's, the melodrama is played quite straightforwardly here, even as the dialogue frequently borders on parody.
    • 63 Metascore
    • 50 Nick Pinkerton
    Firmly in the unassuming indie vein, Return treads lightly and leaves little imprint.
    • 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).
    • 40 Metascore
    • 50 Nick Pinkerton
    The villains come across as individuals rather more compellingly than do the film's ostensible heroes, mostly mouthpieces for warrior credo recited in voiceover.
    • 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
    The interplay between Murray and Barr is closely and carefully handled, but when the monotonous squib-popping subsides, the movie is often static and talky, lapsing into criticism-hedging qualifications and anti-everything speechifying.
    • 57 Metascore
    • 50 Nick Pinkerton
    For all this Snow White's visual ornamentation, there's no sense of narrative priority - the filmmakers can't see the Dark Forest for the trees.
    • 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.
    • 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.
    • 69 Metascore
    • 50 Nick Pinkerton
    It's quibbling to draw up columns denoting what Lanthimos, a difficult but undeniable talent, does right and does wrong. He's seemingly working intuitively here, and whatever missteps he makes while feeling his way forward, he manages to pass quite near to one of the essential conundrums of being human.
    • 67 Metascore
    • 50 Nick Pinkerton
    She (Kazan) also wrote the screenplay, which begs interpretation as a frustrated actress's commentary on the way that even ostensibly serious writers write women - that is, for maximum convenience. Still, the direction, from Jonathan Dayton and Valerie Faris (Little Miss Sunshine), is never more than workmanlike.
    • 61 Metascore
    • 50 Nick Pinkerton
    Delpy, of course, finds her father charming because he is her father, misses her mother for the same reason, and treasures her neuroses because they are her own. What viewers miss is anything inviting us to feel the same way.
    • tbd Metascore
    • 50 Nick Pinkerton
    It is an affecting movie - who cannot be affected by the mountains of discarded eyeglasses and shoes and children being dumped by way of slides into mass graves? - but ultimately, The Lion of Judah is no more essential than the sum of its stock footage.
    • 58 Metascore
    • 50 Nick Pinkerton
    The narrative often seems at odds with the director's pictorialism, trudging when it should be striding toward the climax, isolating the performers on their marks when everything depends on taut blood-ties interconnection.
    • 53 Metascore
    • 50 Nick Pinkerton
    To the atheist, the various interpretations might seem as so many angels dancing on the head of a pin, but any admirer of good talk will be impressed by the scholasticism and pulpit-trained oratory here, as well as some choice fighting words: "Evangelicism in America is what the pharisees were to ancient Egypt."
    • 59 Metascore
    • 50 Nick Pinkerton
    The least one should hope for from another adaptation of Pierre Choderlos de Laclos's Dangerous Liaisons is savory, salacious trash, but nothing in Hur Jin-ho's tony new version approaches the dizzying depths of Sarah Michelle Gellar spelling out the conditions of her sex bet with Ryan Phillippe ("You can put it anywhere . . .") in 1999's "Cruel Intentions."

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