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
    • 36 Metascore
    • 40 Nick Pinkerton
    Much as I want to believe in Cort├ęs, who is clearly talented and ambitious, there is just too much in Red Lights that encourages agnosticism.
    • 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.
    • 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.
    • 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.
    • 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.
    • 43 Metascore
    • 40 Nick Pinkerton
    To understand Apart's Time-Life Mysteries of the Unknown tommyrot any better, one would need a psychic bond to first-time writer/director Aaron Rottinghaus, for his movie doesn't do much of a job explaining it.
    • 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.
    • 44 Metascore
    • 40 Nick Pinkerton
    Rather than viewing moral chaos from the eye of a storm, director David Pomes watches his movie blow off into the storm itself.
    • 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.
    • 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.
    • 45 Metascore
    • 40 Nick Pinkerton
    Taken 2 rarely embodies the values of concision and focus that it extols, and any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills's father-knows-best infallibility.
    • 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.
    • 39 Metascore
    • 40 Nick Pinkerton
    Anderson['s] lavish visual imagination is matched to a placeholder idea of character that's almost avant-garde in its generic stylization, dialogue buffed of personality by passing through 10,000 previous movies.
    • 49 Metascore
    • 40 Nick Pinkerton
    Ultimately, however, People Like Us is infected with the "life-affirming" pox; this means making a narrative priority of redeeming everyone before adequately explaining them.
    • 81 Metascore
    • 40 Nick Pinkerton
    Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
    • 35 Metascore
    • 40 Nick Pinkerton
    While making a priority of squeezing in every usable bit of celebrity face-time, Mansome passes by potentially interesting digressions without more than a wayward glance.
    • 42 Metascore
    • 40 Nick Pinkerton
    Possible resulting "fun" is only slightly mitigated by contemplation of the wearisome decadence of American popular culture.
    • 55 Metascore
    • 40 Nick Pinkerton
    Each segment feels more like an extended trailer for itself than a sound narrative unit. Maybe this incompletion is purposeful, but it's a problem when what's invariably elided or taken for granted is the very human connection and commiseration that is supposedly the most vital force in the universe.
    • 61 Metascore
    • 40 Nick Pinkerton
    There are moments when the tedium loosens you to melt into the landscape, and you swear you can hear the moss on the rocks start talking.
    • 48 Metascore
    • 40 Nick Pinkerton
    Lockout is, not unexpectedly, a potluck of derivative references.
    • 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.
    • tbd Metascore
    • 40 Nick Pinkerton
    A send-up of a communal project made of vague goals and empty postures that is ultimately indistinguishable from its target.
    • 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.
    • 53 Metascore
    • 40 Nick Pinkerton
    It should be mentioned that Garriott's father, Owen, was himself a Skylab astronaut, a fact of which much is made - but that only more obviously shows Man on a Mission for what it is: a puffed-up home movie.
    • 28 Metascore
    • 40 Nick Pinkerton
    With neither the moral bite of satire nor a voluptuary surrender that really basks in shallowness, this is a vague, unsatisfying work.
    • 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.
    • 44 Metascore
    • 40 Nick Pinkerton
    Killer Elite is distinguished by one no-mercy, eye-gouging, testicle-punching brawl, and one whoppingly indifferent screenplay.
    • 64 Metascore
    • 40 Nick Pinkerton
    Too scattered in its arguments and piecemeal in its sources to weave together a convincing institutional condemnation.
    • 51 Metascore
    • 40 Nick Pinkerton
    Has the parallel between the actor and the mercenary's trade ever been so overt?
    • 36 Metascore
    • 40 Nick Pinkerton
    The rather unappealing character of Axel is indulged with every opportunity for redemption, as Spacey is indulged with every opportunity to showboat.

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