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 6.9 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
    • 81 Metascore
    • 80 Nick Pinkerton
    You, the Living flips through 50-some single-panel vignettes, many very funny.
    • 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.
    • 63 Metascore
    • 70 Nick Pinkerton
    It's all slight enough to blow away, and rare enough to warrant seeing it before it does.
    • 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.
    • 38 Metascore
    • 70 Nick Pinkerton
    Carpenter does what he's always done well here: individualizing shorthand personalities in a group under siege. This is Carpenter's first all-female ensemble, and the inmates are uniformly well-played.
    • tbd Metascore
    • 70 Nick Pinkerton
    Chodorov follows the first-person tradition accordingly, entering the subject through his own early immersion in these films via his father, television presenter Stephen Chodorov.
    • 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.
    • tbd Metascore
    • 70 Nick Pinkerton
    Like any good study in couple's psychopathology, a familiar relationship is visible here, but in a parodic, mutated form.
    • 41 Metascore
    • 70 Nick Pinkerton
    Ry Russo-Young's character study of a gal passing the worst years of her life in cool North Brooklyn, leads off with a scene that lets you know right away that you're in the good hands of a young director sensitive to the idiosyncratic details that breathe life into a movie.
    • 69 Metascore
    • 70 Nick Pinkerton
    Arthur was made, in co-production with Sony, by Aardman Animations, the U.K. company best known for Nick Park's Wallace & Gromit shorts, and the character animation has some of the same homely charm.
    • 73 Metascore
    • 70 Nick Pinkerton
    A script that consistently finds fresh outlets for its running gags makes for a sufficiently rollicking pleasure cruise.
    • 49 Metascore
    • 70 Nick Pinkerton
    Taken altogether, the Pie movies offer a cohesive worldview, showing each of life's stages as the setting for fresh-yet-familiar catastrophes, relieved by a belief in sex, however ridiculous it might look, as a restorative force.
    • 61 Metascore
    • 70 Nick Pinkerton
    Greatest-generation stoicism meets gushing contemporary sentiment in Honor Flight.
    • 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
    • 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.
    • 31 Metascore
    • 70 Nick Pinkerton
    Working from a story by all-around genre specialist Jonathan Mostow, director Mark Tonderai steers the story cleanly around its queasy hairpin turns, perversely toying with one of pop cinema's most cherished clich├ęs: the audience's inculcated desire to side with the underdog.
    • 67 Metascore
    • 70 Nick Pinkerton
    It's all here, from the design contests to the farcical series of ribbon-cuttings, including a photo op cornerstone-laying, to the stupid Jeff Koons balloon that recurs as an incidental sight gag.
    • 64 Metascore
    • 70 Nick Pinkerton
    When considering the moral implications of such gladiatorial violence, the film comes out squarely in favor, asking what's crueler: enjoying the spectacle of blood on ice or taking away a livelihood from those who can't do anything else?
    • 66 Metascore
    • 70 Nick Pinkerton
    The self-esteem booster shot provided by the sudden discovery of a prodigious talent is conveyed in a shy, self-surprised amusement by Onetto, accompanied by the slightest loosening of the joints.
    • 72 Metascore
    • 70 Nick Pinkerton
    Devotees will perhaps find something new in this deep pool of archival footage, and newcomers will get an appropriate introduction to the beguiling charisma of a most media-savvy isolationist.
    • 49 Metascore
    • 70 Nick Pinkerton
    The group is frequently drunk, but writer-director Joseph Infantolino's handling is lucid, a necessity to keep up the sense of vague dread and walking-on-eggshell egos.
    • 74 Metascore
    • 70 Nick Pinkerton
    It's good enough at least that you wish it was better.
    • 73 Metascore
    • 70 Nick Pinkerton
    If the M:I films are immune to the tarnish on the Cruise brand, it's precisely because their spectacle requires us to be impressed by Ethan Hunt, not to like him.
    • 87 Metascore
    • 70 Nick Pinkerton
    Perhaps something important was spirited away with the 20 minutes of footage shorn for this U.S. release, but the combatants are scarcely distinguishable here even before disappearing under layers of mud and guts.
    • 63 Metascore
    • 70 Nick Pinkerton
    Leyser's collation of interviews and stock footage is polished enough to effectively perpetuate the Burroughs legend.
    • 75 Metascore
    • 70 Nick Pinkerton
    A hit in its native Sweden as "Snabba Cash," the English title is a piece of cheap irony; this is a crime thriller where no one gets away clean, and every action has its irrevocable reaction.
    • 71 Metascore
    • 70 Nick Pinkerton
    Director Alan Parker (still living) nicely describes the tightrope teeter of Cardiff's hothouse imagery: "It's great art, and then it will be kitsch, and then it will be art again." Or is he summing up cinema itself?
    • 78 Metascore
    • 70 Nick Pinkerton
    One senses that The Guard is McDonagh's eulogy for the brusque, warts-and-all character of a passing generation of tough, working-class Irishmen, much as Clint Eastwood's "Gran Torino" was for vintage Americanism.
    • tbd Metascore
    • 70 Nick Pinkerton
    A Pacific shore whose rolling tide is rendered as a field of static is the final, remarkable image - though the water cycle film might work best on loop.
    • 68 Metascore
    • 70 Nick Pinkerton
    Vision is more immediate and immersive when dealing in the jealous attachments among sisters; when circumstance and politics tear Richardis from Hildegard, Sukowa's performance rears to towering heights of abjection.

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