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
    • 85 Metascore
    • 100 Nick Pinkerton
    Better than a masterpiece - whatever that is - The Tree of Life is an eruption of a movie, something to live with, think, and talk about afterward.
    • 91 Metascore
    • 100 Nick Pinkerton
    The film's genius is how completely it tunes in to his 
experience, delicately outlining Joey's private moments of shame, elation, despondency, and pride.
    • 78 Metascore
    • 90 Nick Pinkerton
    The finest Western you'll see this year is set in aristocratic 16th-century France, in the heat of Counter-Reformation.
    • 80 Metascore
    • 90 Nick Pinkerton
    An extraordinary example of both art-historical interpretation and CGI as passport to unknown lands, The Mill and the Cross, based on a book by Michael Francis Gibson, is a moving-image tribute to the still image, with its ability to "wrestle the senseless moment to the ground."
    • 62 Metascore
    • 90 Nick Pinkerton
    A hideously funny tabloid noir.
    • 88 Metascore
    • 80 Nick Pinkerton
    The result is a poetic documentary of quiet American surfaces and intimately eavesdropped people.
    • 83 Metascore
    • 80 Nick Pinkerton
    With Hadewijch, he (Dumont) endorses something like the Dardenne brothers' rugged, squalid secular humanism, offering the barrier-breaking embrace as vague alternative to Despair, Church, or Capital.
    • 69 Metascore
    • 80 Nick Pinkerton
    Mendelsohn's first film since 1999's "Judy Berlin" is devoted to finding descriptive correlatives to liminal emotional states through the cast's eloquent reaction shots and the camera's depiction of homely environments - with ornate, flowing visual vocabulary.
    • 90 Metascore
    • 80 Nick Pinkerton
    The subjects, plainspoken and insightful, attempt to extract the objective lessons of the political past from their subjective fortunes. This struggling to untie the personal-political knot makes for compelling oral history.
    • 81 Metascore
    • 80 Nick Pinkerton
    Greene may intend Kati's story as a quiet tragedy, but the native feeling of that's-just-the-way-it-is lethargy ("Only in Alabama can you be a home-school drop-out") is rather convincing.
    • 68 Metascore
    • 80 Nick Pinkerton
    As tight as the parallel homo sapiens storylines are lax, Caesar's prison conversion to charismatic pan-ape revolutionist is near-silent filmmaking, with simple and precise images illustrating Caesar's General-like divining of personalities and his organization of a group from chaos to order. All of this is shown in absorbing, propulsive style, as Caesar broodingly bides his time like a king in disguise awaiting restoration.
    • 79 Metascore
    • 80 Nick Pinkerton
    The aura of a life lived in extremis, undergirded by faith, clings to the film. Even nonbelievers in Senna's sport and church will find it difficult to visit Kapadia's cinematic shrine without emotion.
    • 71 Metascore
    • 80 Nick Pinkerton
    Old line-gargler Nolte remains an effortlessly moving presence, while Hardy and Edgerton embody their archetypes and handle the physical demands.
    • 67 Metascore
    • 80 Nick Pinkerton
    Where faux-empowering "The Girl With the Dragon Tattoo" confines sexual power play to the old rape-revenge matrix, Haywire is a real war-of-the-sexes tournament, briskly paced with a tickling sense of black humor.
    • 80 Metascore
    • 80 Nick Pinkerton
    An experience comparable to starting down the road with an empty sack then, over the course of the journey, having it weighed down steadily with rocks until you can't go on. But this backbreaking effect cannot be called an artistic failure. It is exactly what Tarr sets out to achieve.
    • 76 Metascore
    • 80 Nick Pinkerton
    It speaks eloquently about the disappearance of most any indigenous working-class culture.
    • 40 Metascore
    • 80 Nick Pinkerton
    In every swelling musical cue, Billion Dollar Movie displays open contempt for friendship, family, love, sex, heroism, and everything lofty and beautiful that multiplex movies have reduced to cant.
    • 82 Metascore
    • 80 Nick Pinkerton
    Plumbing disquieting depth, Deep Blue Sea investigates the insoluble dilemma of romantic love: the expectation, contrary to experience, that we can or will find every quality that we want in a single person.
    • 83 Metascore
    • 80 Nick Pinkerton
    Like Rohmer, Hong is wonderful with atmospheric effects, using whirling snowfalls to place his characters' inchoate longing in relief.
    • 75 Metascore
    • 80 Nick Pinkerton
    Richard Linklater's Bernie is the rarest of rarities: a truly unexpected film. It might be classified as a black comedy, for it deals with the murder of an 81-year-old woman in a fashion that is not exactly tragic.
    • 66 Metascore
    • 80 Nick Pinkerton
    There is a lot of silly bike-is-life philosophy, including Wilee's personal credo of "Fixed gear, steel frame, no brakes," none of which I can speak to because I don't care a tinker's damn about bikes, but I do have an abiding fondness for compact and coherent action movies, and this is surely one.
    • 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.
    • 79 Metascore
    • 80 Nick Pinkerton
    The imagery has all the solemn ravishment of Béla Tarr's similarly darkening "The Turin Horse" with none of the epochal portentousness, while Rivers's work owes more to Billy Bitzer than most gallery art contemporaries.
    • 76 Metascore
    • 80 Nick Pinkerton
    It is not surprising that Zemeckis's handling of spectacle would be undiminished, but he hasn't lost his touch with actors, either, coaching Washington into one of his rare performances that suggests much more than it shows.
    • 87 Metascore
    • 80 Nick Pinkerton
    The title almost suggests manhood as something trifling. The film, however, confirms it's a mighty hard ideal to reach.
    • 78 Metascore
    • 80 Nick Pinkerton
    In spite of Bulger's errors of tone, the movie stands as an engaging tussle with the question of what is permissible with the excuse of art. One former collaborator of Baker's, John Lydon (a/k/a Rotten), comes up with the most eloquent absolution: "I cannot question anyone with end results that perfect."
    • 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.
    • 81 Metascore
    • 80 Nick Pinkerton
    You, the Living flips through 50-some single-panel vignettes, many very funny.
    • 66 Metascore
    • 70 Nick Pinkerton
    Splice is a queerly funny movie, attuned to the absurd.
    • 46 Metascore
    • 70 Nick Pinkerton
    Cage will likely not earn a second Oscar here, but he and director Jon Turteltaub (National Treasure) make leftovers into fine PG malarkey with their hokey naïveté and prankish hocus-pocus.