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 8.6 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
    • 57 Metascore
    • 40 Nick Pinkerton
    All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
    • 57 Metascore
    • 50 Nick Pinkerton
    Those with a higher tolerance for bumptious jestering-from a yipping and mincing Xiao, or Cheng Ye as a bucktoothed jelly-belly-may, however, cry Masterpiece. They are instructed to seek out the longer Chinese cut, which apparently packs in more such interminable shtick, broad as the Yangtze.
    • 57 Metascore
    • 50 Nick Pinkerton
    Slater's book was evidently an ax-grinder, and the resulting film, directed with tone-deaf comic rhythm by S.J. Clarkson, shows pity and bemusement for the people raising Nigel but rarely human interest in them. More damning still, even the food looks ugly.
    • 57 Metascore
    • 50 Nick Pinkerton
    For all this Snow White's visual ornamentation, there's no sense of narrative priority - the filmmakers can't see the Dark Forest for the trees.
    • 56 Metascore
    • 70 Nick Pinkerton
    Good for Nothing has a nice comic sense of the brushfire eruptions of Western violence.
    • 56 Metascore
    • 50 Nick Pinkerton
    The interplay between Murray and Barr is closely and carefully handled, but when the monotonous squib-popping subsides, the movie is often static and talky, lapsing into criticism-hedging qualifications and anti-everything speechifying.
    • 56 Metascore
    • 50 Nick Pinkerton
    Here is one glimmer of truth in what's otherwise a deliberately unfinished fraud - another "primitive" postwar antique repurposed for boutique sale.
    • 56 Metascore
    • 60 Nick Pinkerton
    Based very loosely on a short story by "I Am Legend" author Richard Matheson, Real Steel in fact comes closer to road-bonding movies featuring children and hesitant papas: "Paper Moon" or "Over the Top," say.
    • 56 Metascore
    • 50 Nick Pinkerton
    Staying squarely with those victims, what Sequestro does crudely do is communicate the only really sensible platform-an abhorrence of cruelty.
    • 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.
    • 55 Metascore
    • 50 Nick Pinkerton
    Playboy "gave us some of the best literature of our time," opines noted literary critic Tony Bennett, among a cast of mostly ridiculous and redundant talking heads.
    • 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.
    • 55 Metascore
    • 50 Nick Pinkerton
    Van Sant knows how to display the common touch, but the movie is a hard sell whose ending is never in doubt.
    • 55 Metascore
    • 30 Nick Pinkerton
    The film is a burdensome two hours.
    • 54 Metascore
    • 50 Nick Pinkerton
    Puncture is proudly "Based on a True Story." As is so often the case, this means an indifference to "true" human relationships in favor of crusading self-righteousness.
    • 54 Metascore
    • 50 Nick Pinkerton
    More often, Mekas's focus on "names" comes off as a cloistered insensitivity to the wider world.
    • 54 Metascore
    • 70 Nick Pinkerton
    It's the latest installment in what now forms a lightly likable trilogy of films based on Jeff Kinney's Wimpy Kid books.
    • 54 Metascore
    • 40 Nick Pinkerton
    None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
    • 53 Metascore
    • 50 Nick Pinkerton
    Where "The Last Exorcism" was sustained by artfully balanced skepticism and a feel for character, Paranormal 2, putatively directed by Tod Williams, can only hold an audience with the understood promise of big jolts around the corner.
    • 53 Metascore
    • 80 Nick Pinkerton
    Hawke's taut performance - lightly parodying his own career doldrums while playing an egotistical hack who's a close cousin of John Cassavetes's self-loathing actor in Rosemary's Baby - is totally credible.
    • 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
    • 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.
    • 53 Metascore
    • 70 Nick Pinkerton
    Apted seems too often to think like an old-hand action director and not enough like the 12-year-old boy who probably read Lewis's book. To enter Narnia, to really go giddy with the bright, laughing promise of a quest, a young viewer with no convenient magic portal of his own needs characters to bring him along. This is, I believe, the difference between a classic and a successful franchise reboot.
    • 53 Metascore
    • 50 Nick Pinkerton
    To the atheist, the various interpretations might seem as so many angels dancing on the head of a pin, but any admirer of good talk will be impressed by the scholasticism and pulpit-trained oratory here, as well as some choice fighting words: "Evangelicism in America is what the pharisees were to ancient Egypt."
    • 53 Metascore
    • 70 Nick Pinkerton
    Though Wanderlust finally laughs off the real discomforting conclusion that it's edging toward, it's gut-busting funny when mocking their hopeless options.
    • 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.
    • 53 Metascore
    • 60 Nick Pinkerton
    Hall's committed performance validates even the maddest developments, and she slips into the period well, recalling Virginia Woolf in her lank, swan-necked bearing and tremulous suffering.
    • 52 Metascore
    • 70 Nick Pinkerton
    We need visionaries-but also solid craftsmen who seem to enjoy their work. Insidious is the product of the latter. It doesn't build a better haunted house but, when on its game, reminds us of the genre's pleasures.
    • 52 Metascore
    • 50 Nick Pinkerton
    Ignoring all but the most obvious tensions in the Uday-Latif symbiosis, Devil's Double is static drama, with Michael Thomas's script establishing relationships as if perfunctorily pressing buttons marked "Father-Son Dynamic" and "Forbidden Love Affair," failing to dignify these themes with individuality.

Top Trailers