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 6.8 points lower than other critics. (0-100 point scale)

Nick Pinkerton's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Ruggles of Red Gap (1935)
Lowest review score: 0 30 Beats
Score distribution:
  1. Positive: 99 out of 293
  2. Negative: 45 out of 293
293 movie reviews
    • 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.
    • 62 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.
    • 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."
    • 36 Metascore
    • 50 Nick Pinkerton
    The Collection doesn't have much to recommend it beyond a first-reel bloodbath rivaling "Blade" and "Death Ship."
    • 94 Metascore
    • 50 Nick Pinkerton
    Haneke remains, by his rules, infallible. So what? A movie in which incident is as spare as it is in Amour can certainly be great; a movie in which ideas and feelings are so sparse cannot.
    • 56 Metascore
    • 50 Nick Pinkerton
    Here is one glimmer of truth in what's otherwise a deliberately unfinished fraud - another "primitive" postwar antique repurposed for boutique sale.
    • 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.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Nick Pinkerton
    (It) notably liberated itself from the fusty tradition that a sex comedy should either titillate or tickle an audience.
    • 54 Metascore
    • 40 Nick Pinkerton
    None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
    • 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.
    • 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.
    • 62 Metascore
    • 40 Nick Pinkerton
    It's clear that Hughes knows his Midnight Oil, but he's ignorant of the craft of economic action filmmaking. However arguably noble his film's intent to redress historical grievance, a poorly filmed shoot-out is never more than exactly that.