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 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
    • 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.
    • 38 Metascore
    • 40 Nick Pinkerton
    Michael's motivations remain arbitrary and inscrutable, right down to his entry into the seminary. This is brought up by a number of characters, who interpret his implausible career decision as A Sign. It is-of bad writing.
    • 33 Metascore
    • 40 Nick Pinkerton
    His (Snyder) mash-up set pieces ("Call of Duty" meets "Castlevania," etc.) blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.
    • 52 Metascore
    • 40 Nick Pinkerton
    Sillen ennobles the havoc of his life with a measure of down-and-out romance, but no moments really puncture a viewer, and the darkness is all too easily shaken off.
    • 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.
    • 45 Metascore
    • 40 Nick Pinkerton
    The crazy-barista melodrama-slapstick collision seems not like a nimble twist, but tone-deaf blundering-what once came naturally now seems like trying too hard, as the Farrellys face their own mid-life crisis.
    • 64 Metascore
    • 40 Nick Pinkerton
    Too scattered in its arguments and piecemeal in its sources to weave together a convincing institutional condemnation.
    • 42 Metascore
    • 40 Nick Pinkerton
    It's not a total wash. Faris's ample talents are squandered with a should-I-stay-or-should-I-go romantic dilemma, but there's just enough of Demetri Martin doing a prick act, and Fogler excels as a Rabelaisian dynamo.
    • 50 Metascore
    • 40 Nick Pinkerton
    Really, the movie has absolutely everything except the light touch required for unaffected charm - the mugging is savage - a single piece of memorable original music, or a production number that's celebratory rather than trampling.
    • 45 Metascore
    • 40 Nick Pinkerton
    "Arrested Development's" Tony Hale nearly overcomes the gently worthless script, playing Annie's dork suitor, and convincingly transforming himself from toad to prince.
    • 31 Metascore
    • 40 Nick Pinkerton
    The cocky presumption of charm that isn't actually there is precisely the problem with action-comedy This Means War.
    • 40 Metascore
    • 40 Nick Pinkerton
    Ceremony is a callow movie: Winkler exhibits no comprehension of the class anxieties he addresses, and extends precocity into adulthood. That callowness is Ceremony's subject scarcely makes it funnier.
    • 51 Metascore
    • 40 Nick Pinkerton
    If Skateland is the sort of work Ritchie's future holds, it's proof that some talents are better off staying home.
    • 49 Metascore
    • 40 Nick Pinkerton
    Anyone who's seen a martial-arts picture expects a certain amount of thumb-twiddling between the big numbers, but director Andrew Lau's handling of exposition is markedly poor, distended with rubbish plotlines, flashy sadism, and overwrought jingo.
    • 22 Metascore
    • 40 Nick Pinkerton
    Aspires to nothing more or less than carrying along an audience through a string of unremarkable kills, often involving high-jumping fish.
    • 48 Metascore
    • 40 Nick Pinkerton
    Lockout is, not unexpectedly, a potluck of derivative references.
    • 46 Metascore
    • 40 Nick Pinkerton
    Par for the course in blowout CGI adaptations, a great deal of detail and bustle is gained at the expense of charm - for all the miracles these armies of animators can achieve, they have yet to successfully reproduce a humble artist's line.
    • 58 Metascore
    • 40 Nick Pinkerton
    Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
    • 42 Metascore
    • 40 Nick Pinkerton
    Possible resulting "fun" is only slightly mitigated by contemplation of the wearisome decadence of American popular culture.
    • 78 Metascore
    • 40 Nick Pinkerton
    The Dark Knight Rises is a shallow repository of ideas, but as a work of sheer sensation, it has something to recommend.
    • 40 Metascore
    • 40 Nick Pinkerton
    Boom was produced under the auspices of pal Adam Sandler's Happy Madison Productions, which has a tendency toward broad-comic morality tales and multiplex populism that often shades into remedial-level pandering.
    • 51 Metascore
    • 40 Nick Pinkerton
    Has the parallel between the actor and the mercenary's trade ever been so overt?
    • 61 Metascore
    • 40 Nick Pinkerton
    As de-mythologizings go, Trollhunter has neither the wit, nor art, nor social insight to honor the legacy of George A. Romero's "Martin."
    • 49 Metascore
    • 40 Nick Pinkerton
    The long takes and lack of theatrical affect are presumably meant to heighten the realism by dispensing with film - fiction artifice, but in the process, everything that might lure a viewer - the seduction of style and plot or an engagement with characters - is forgotten.
    • 51 Metascore
    • 40 Nick Pinkerton
    Like a child bluffing at knowing a secret, St. Nick teases and frustrates.
    • 59 Metascore
    • 40 Nick Pinkerton
    The screenplay is by Variety editor Steven Gaydos, and it combines a working knowledge of on-set dynamics with corny cinephile in-joking, frequently elevated by the fresh evidence of Hellman's craft in the tranquil, largely nocturnal atmosphere, until the closing-credits song ruins everything.
    • 55 Metascore
    • 40 Nick Pinkerton
    "Wood" is still by far Depp and Burton's best collaboration, exhibiting the balance of tone between kitsch parody and zealous fantasy that's missing in Dark Shadows, less a resurrection than a clumsy desecration.
    • 18 Metascore
    • 40 Nick Pinkerton
    It's the kind of thing you feel you should laugh at through a phlegmy, hacking cough-and it does get laughs, if inconsistently, predictable given the circumstances of production.
    • 81 Metascore
    • 40 Nick Pinkerton
    Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
    • 58 Metascore
    • 40 Nick Pinkerton
    The same laxity given to the performers extends, unfortunately, to the film's structuring, a lazy Susan rotation between storylines and monotonous settings.

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