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 7.1 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
    • 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.
    • 81 Metascore
    • 40 Nick Pinkerton
    Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
    • 79 Metascore
    • 50 Nick Pinkerton
    There's a human tragedy somewhere here-but aggrandized puppy-love romance and stylish revenge fantasy is all that lingers.
    • 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.
    • 76 Metascore
    • 50 Nick Pinkerton
    More than once does To's grandiose imagism miraculously grant this rote thriller a gleam of the sublime, as in a trash-dump face-off staged as an epic field maneuver, or a campground shoot-out timed to the fickle light of the moon.
    • 76 Metascore
    • 60 Nick Pinkerton
    Though Submarine isn't a dull head-movie, amid the bells and whistles, Roberts seems less its star than its cameraman.
    • 74 Metascore
    • 60 Nick Pinkerton
    A homely bit of international Cold War cloak-and-dagger, starring badly dressed bureaucrats instead of chic spies, Farewell is based on a vital early-'80s espionage break involving the KGB, DST French intelligence, and the CIA.
    • 74 Metascore
    • 60 Nick Pinkerton
    Playing an ignoble protagonist, Dobrygin keeps his motives always quietly evident; later, lost in a fog painted red by an emergency flare, he's an abject vision of man in a hell of his own making.
    • 74 Metascore
    • 50 Nick Pinkerton
    Undeniably long, Panavision-wide, but of questionable depth.
    • 72 Metascore
    • 50 Nick Pinkerton
    The characterizations never comfortably accommodate Haroun's pat metaphor, though his stoic visual storytelling has an oblique gravity.
    • 72 Metascore
    • 60 Nick Pinkerton
    Punctuating views of the bucolic countryside and sky attest to nature or God's indifference to human suffering, but such formalist touches don't overwhelm the responsive ensemble work in this resourceful, taboo-prodding sickie.
    • 72 Metascore
    • 50 Nick Pinkerton
    The Double Hour sustains a minimum of attention thanks to the naturally beguiling presence of long-stemmed Rappoport-but what might've a less cautious director done with the material?
    • 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.
    • 70 Metascore
    • 50 Nick Pinkerton
    Danhier has made a lifestyle-nostalgia oral history after the popular "Please Kill Me" model, but gets none of the tall tales and internecine grudging that made that tome so entertaining.
    • 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.
    • 69 Metascore
    • 50 Nick Pinkerton
    Penn's lachrymosity and hotheaded indignity seem cartooned against Watts's contained conviction-though more incongruous couples have certainly existed-but the film's assertion of Plame and Wilson as real people rather than characters consists mostly of draining them of anything compelling.
    • 69 Metascore
    • 60 Nick Pinkerton
    Améris's recipe here calls for everything in moderation, resulting in a movie that never threatens to offend nor, particularly, to delight, though it does offer a good view on a modestly charming actors' duet.
    • 68 Metascore
    • 50 Nick Pinkerton
    The grungy setting and unflattering photography are only camouflage for callow, creeping sentimentality.
    • 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.
    • 67 Metascore
    • 60 Nick Pinkerton
    There's material from a phone-in psychoanalysis center, the dumping grounds of London's surveillance-camera feed, and the detox tent at some massive biergarten - like much of the film, mordantly funny in a kind of pursed-lips, arched-eyebrows way.
    • 67 Metascore
    • 40 Nick Pinkerton
    The film is flecked with moments of interest, though this decidedly minor and not particularly cinematographic affair is clearly best suited to television.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 40 Nick Pinkerton
    Too scattered in its arguments and piecemeal in its sources to weave together a convincing institutional condemnation.
    • 64 Metascore
    • 60 Nick Pinkerton
    Farina is un-self-conscious and true enough to alchemize cliché.
    • 64 Metascore
    • 50 Nick Pinkerton
    Following the clues, The Other Guys turns more hectic than antic, and somebody didn't pack enough comedy for this long trip.
    • 64 Metascore
    • 40 Nick Pinkerton
    Not everything that is human is naturally interesting, and Schleinzer approaches his subject not as an investigator, but as though covering up a crime scene and scrubbing it of anything that might provide insight or empathy or psychological traction.
    • 63 Metascore
    • 50 Nick Pinkerton
    Firmly in the unassuming indie vein, Return treads lightly and leaves little imprint.
    • 63 Metascore
    • 60 Nick Pinkerton
    Fight fans will still find much of interest, including some surreptitious footage of Don King unsuccessfully wooing the young brothers by "playing" Mozart on a player piano.

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