Nick Pinkerton

Select another critic »
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 9.3 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
    • 63 Metascore
    • 70 Nick Pinkerton
    It's all slight enough to blow away, and rare enough to warrant seeing it before it does.
    • 63 Metascore
    • 50 Nick Pinkerton
    The result is not without beauty, though at a certain point, one begins to notice that each new muse rather resembles the previous, a uniformity that restrains the film from true symphonic swell.
    • 63 Metascore
    • 60 Nick Pinkerton
    Once that point is made, this push-pull settles into a certain lulling monotony, wandering a wilderness of wires, cooling towers, and a thousand other inscrutable devices, but it is a monotony with an undertone of menace.
    • 62 Metascore
    • 90 Nick Pinkerton
    A hideously funny tabloid noir.
    • 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.
    • 62 Metascore
    • 70 Nick Pinkerton
    Scenes showing the tricky process of acclimatizing a child to new surroundings, and the patchwork of experiences that make up an education - both Asia's and Tairo's - are grounded by entirely affectless performances, not least that of little Asia Crippa.
    • 62 Metascore
    • 80 Nick Pinkerton
    The roaring popular success of Peter Chan's Wu xia in China - renamed Dragon for export - is no mystery: It's an adept genre exercise with rare primal depths.
    • 62 Metascore
    • 70 Nick Pinkerton
    The plot twists are about as venerable as the cast and predictably affecting when performed with such old-hand proficiency.
    • 61 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.
    • 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."
    • 61 Metascore
    • 70 Nick Pinkerton
    Eldard, with eyes projecting adolescent vulnerability and a body lost to awkward midlife chub, is enough to redeem Cuesta's indie commonplaces.
    • 61 Metascore
    • 70 Nick Pinkerton
    Greatest-generation stoicism meets gushing contemporary sentiment in Honor Flight.
    • 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.
    • 61 Metascore
    • 50 Nick Pinkerton
    There is the impression, deadly to the sense of fun, that the talent here actually thought they were remaking a classic.
    • 61 Metascore
    • 70 Nick Pinkerton
    This self-consciously modern movie contains classical pleasures.
    • 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.
    • 60 Metascore
    • 70 Nick Pinkerton
    An epic by Scandinavian standards, Manus's period re-creation is lavish-but the too-polished rental décor doesn't create a living past.
    • 60 Metascore
    • 60 Nick Pinkerton
    "Afterschool Special" stuff, but the ensemble rings quite true in their coping processes, as director David Schwimmer proves adept at tracking rogue emotions that no closing "Ordinary People" clench can satisfactorily resolve.
    • 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.
    • 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.
    • 59 Metascore
    • 70 Nick Pinkerton
    More than the marquee names, the second bananas keep the movie bobbing along: Broderick's pharmaceutically vague hangdog act is perfect ("If you need me, I'll be living in this box"), while Peña turns out to be a fine comedian, an enthusiastically yipping dumb puppy here.
    • 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."
    • 59 Metascore
    • 30 Nick Pinkerton
    Weixler is an alert, mobile comedienne who deserves better than this awkward pause, nervous stammer, social-anxiety comedy.
    • 59 Metascore
    • 50 Nick Pinkerton
    "We're all mixed bags" is the conclusion of unwieldy mixed bag Wall Street: Money Never Sleeps.
    • 58 Metascore
    • 70 Nick Pinkerton
    Here is the irony: Trouble With the Curve embodies all of the values it espouses - it is an old-fashioned, proficient, amiable, and decent movie - but it has no instinct.
    • 58 Metascore
    • 70 Nick Pinkerton
    Although the movie is overreliant on chintzy-looking and rather corny historical reenactments, these are counterbalanced by anecdote-rich interviews, including descendants of Huberman's first orchestra, human testament to the family tree of Israeli musicianship that he planted.
    • 58 Metascore
    • 40 Nick Pinkerton
    Despite such ubiquitous timidity, one can pluck out a few pleasing distractions here.
    • 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.
    • 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.
    • 58 Metascore
    • 70 Nick Pinkerton
    With erratic success, Heartless tries a number of different veins-urban fairy tale with "There was no magic, it was you all along" twist, supernatural family drama-but it's on firmest footing as a macabre comedy.

Top Trailers