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 6.7 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
    • 74 Metascore
    • 30 Nick Pinkerton
    It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams--and his barren Inception doesn't capture much of either.
    • 59 Metascore
    • 30 Nick Pinkerton
    Weixler is an alert, mobile comedienne who deserves better than this awkward pause, nervous stammer, social-anxiety comedy.
    • 55 Metascore
    • 30 Nick Pinkerton
    The film is a burdensome two hours.
    • 53 Metascore
    • 30 Nick Pinkerton
    This crude, overlong chunk of kung-fu kitsch lays its scene in a 1920s Republican China, torn by internecine fighting and weighed down by drably expensive production design.
    • 53 Metascore
    • 30 Nick Pinkerton
    Rid of Me is a bad movie, but at least it's a flailing, innocent badness.
    • 53 Metascore
    • 10 Nick Pinkerton
    John Dies at the End is a product of a parallel universe where slacker flippancy never got old-and, oh, it is terrible.
    • 52 Metascore
    • 20 Nick Pinkerton
    It is draggily paced and lacks felicity of form; the 3-D is a rip-off and the songs are pap, save a snippet of Etta James singing "At Last" while Bieber's glossy fringe sways in slow-motion.
    • 52 Metascore
    • 30 Nick Pinkerton
    The enjoyable moments are limited to Alison Brie, funny as Sidney's publicist, and the final recasting of the movie as a backstage diva drama. As ever, the self-reflexive horror stuff is superficial, loveless, and constant-a ladled-on sauce to disguise what you're eating.
    • 50 Metascore
    • 30 Nick Pinkerton
    That even the criminal class has gone sensitive and finicky eco-conscious has some potential for comedy-or drama, as in Oliver Stone's undervalued Savages-but there's no single detail that might convince a viewer that the characters played by Dax Shepard and Bradley Cooper might ever have been compelled to steal for a living, and this alienates the crime picture from any social context or sense of actual danger, making it essentially a celebrity goof-off.
    • 50 Metascore
    • 30 Nick Pinkerton
    It can't sustain interest in the endless unraveling of Molly's psyche, which, as handled by Sánchez, has all the interest of watching an inexplicably untreated wound fester.
    • 49 Metascore
    • 20 Nick Pinkerton
    Ten interviews with 10 "name" American and European directors--including Todd Haynes, David Lynch, Bernardo Bertolucci, and Catherine Breillat--diced into a documentary as asinine and fawning as its title suggests.
    • 48 Metascore
    • 30 Nick Pinkerton
    Arguably a good lesson for kids about preserving our environment, To the Arctic is definitely a threat to our equally endangered good taste.
    • 47 Metascore
    • 30 Nick Pinkerton
    A cinematic event. It's not every day, after all, that you get to see two great American traditions - guitar/bass/drums rock music and Tin Pan Alley musical theater - so thoroughly, mutually degraded.
    • 45 Metascore
    • 10 Nick Pinkerton
    It's one of the most obnoxious movies ever made.
    • 45 Metascore
    • 30 Nick Pinkerton
    Sauvaire, hesitating between a protest picture and a glam-squalid imagist orgy, only succeeds in scattering human rubble across the screen.
    • 44 Metascore
    • 30 Nick Pinkerton
    Cage's avenger is named Milton; this reference to the author of Paradise Lost is the sole hint that Old World culture ever existed in Drive Angry's convoy of hyperbolized-unto-parody Americana: bad drawls, obese gawkers, roadhouse demonology, coochie-cutter shorts, and engines revving under guitar stomp.
    • 44 Metascore
    • 30 Nick Pinkerton
    It's a pathetic missed opportunity - and one occasion of actually going broke by underestimating the intelligence of the American public.
    • 41 Metascore
    • 30 Nick Pinkerton
    Graynor is a muddle of kooky indie girlfriend and materialistic fortune hunter; Hanks has neither threat nor pathos at his command.
    • 40 Metascore
    • 30 Nick Pinkerton
    The proximity of horrible headlines scarcely matters - released on any day of any calendar year, Gangster Squad would be a crime against cinematic sensibility.
    • 40 Metascore
    • 30 Nick Pinkerton
    It's impossible to imagine how anything this convoluted could have already earned a sequel, but it has.
    • 40 Metascore
    • 30 Nick Pinkerton
    Every gag is smothered by the prevailing tone of labored zaniness and generic, plucky "mischief music" alerting discerning viewers to abandon all hope of laughter.
    • 37 Metascore
    • 30 Nick Pinkerton
    If the success of epic storytelling were determined by the sheer number of unnecessary on-screen name tags, 1911 would be a masterpiece. But the small matters of characterization, audience identification, and scene-making are entirely absent here.
    • 35 Metascore
    • 20 Nick Pinkerton
    It is plodding, lazily filmed, gassy with James Horner's score, and pads its runtime only by way of tolling repetition.
    • 35 Metascore
    • 30 Nick Pinkerton
    An unnecessary retelling of rock's dingiest "legend"--ever get the feeling you've been cheated?
    • 33 Metascore
    • 30 Nick Pinkerton
    Bracingly inept.
    • 32 Metascore
    • 30 Nick Pinkerton
    It's an overloaded, overwrought, profligate production inclined to hysteria and, in cumulative effect, something like being pelted with scenes until buried alive - but it helps keep it from being boring.
    • 31 Metascore
    • 30 Nick Pinkerton
    Your Highness plays like a dirty-joke blooper reel made by the cast of a junky sword-and-sorcery epic.
    • 31 Metascore
    • 30 Nick Pinkerton
    On every level this production - from Robinson's callow performance to Vila's hackneyed handheld camerawork, punching beats in the stead of the actors - remains firmly on the level of the obvious.
    • 30 Metascore
    • 30 Nick Pinkerton
    While Sandler has never trafficked in epigrammatic wit, there's a difference between, say, Billy Madison's "Of course I peed my pants--everyone my age pees their pants" or "I Now Pronounce You Chuck and Larry's" shakedown of hetero squeamishness, and this lazy stuff--the difference between smart-dumb and plain-dumb.
    • 29 Metascore
    • 30 Nick Pinkerton
    The forced horseplay is entirely without ensemble chemistry, probably because the leads were hired principally as singers/musicians, as this, the directorial debut of former Law & Order: Criminal Intent star Vincent D'Onofrio, is that rarest of mongrel movies: a slasher/musical.

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