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
    • 63 Metascore
    • 70 Nick Pinkerton
    Just as the characters created by Tolstoy the artist got the advantage of Tolstoy the polemicist - at least until the end of his life - so these confoundingly good performances gradually win the movie from Wright's puerile conceit, giving us an Anna Karenina if not for the ages, than at least for an evening.
    • 67 Metascore
    • 70 Nick Pinkerton
    Like one of its yakuza bigs, Outrage commands respect but no affection.
    • 47 Metascore
    • 70 Nick Pinkerton
    The Dry Land does slip inside the inescapable, closed-circle logic of despair, and O'Nan's shy, precarious performance keeps you with him to the edge of the abyss.
    • tbd Metascore
    • 70 Nick Pinkerton
    The novel and wickedly funny topic is mined for only a portion of its potential, but a little ironic astringency is certainly more unsettling than by-the-book slum drama.
    • 69 Metascore
    • 70 Nick Pinkerton
    The cumulative impression is of figures being lightly traced in the sand only to be inevitably washed away, intentionally ephemeral and quite charming for it.
    • 81 Metascore
    • 70 Nick Pinkerton
    No
    No uses the actual commercial material the opposition created for its anti-Pinochet campaign and—re-creating the behind-the-scenes filming—deftly appropriates mediated history for fiction.
    • 64 Metascore
    • 70 Nick Pinkerton
    It's this youthful denial of vulnerability that makes West's slow-sidling haunted-house movies work. He understands the kidding way that his audience approaches horror and seems to play along with that jokey imperviousness - until rudely tearing up the all-in-good-fun contract, gouging us with actual pain.
    • 39 Metascore
    • 70 Nick Pinkerton
    The entire production is single-mindedly, earnestly devoted to serving up feats of BADASS, and it succeeds in this devotion to the exclusion of everything else. Allegedly in 3-D, though I didn't notice at the time.
    • 70 Metascore
    • 70 Nick Pinkerton
    Shea's documentary is a well-arranged if rather drawn-out parade of talking heads telling Wally's story, including a trenchant and funny Morley Safer, never missing a chance to knock the art world.
    • 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.
    • 52 Metascore
    • 60 Nick Pinkerton
    The humor doesn't only target south of the border. Like any good genre product, Casa also smuggles in rude social criticism.
    • 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.
    • 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.
    • 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.
    • 38 Metascore
    • 60 Nick Pinkerton
    Seeking Justice is the kind of effective middle-range pulp thriller that has lately become an endangered species.
    • 45 Metascore
    • 60 Nick Pinkerton
    This is action as timeless as the reptilian brain-and if The Expendables is no classic, for about 20 minutes, it blowed up real good.
    • 50 Metascore
    • 60 Nick Pinkerton
    Director Jon Favreau's experiment in genre crossbreeding - a Western-sci-fi mashup pumped full of inspirational all-in-this-together spirit - is a cute, crowd-pleasing idea, though more decadent than a revitalization of either genre.
    • 49 Metascore
    • 60 Nick Pinkerton
    The plot is a chaos of underdeveloped relationships and frayed loose ends, but every so often, Mann does something so right that it makes this seem less a matter of narrative disorganization than a commentary on the anarchy intrinsic to any investigation.
    • 51 Metascore
    • 60 Nick Pinkerton
    Doing The Most Dangerous Game is, for action directors, what covering "Satisfaction" is to bar bands; if you hit most of the notes, it'll do.
    • 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.
    • 50 Metascore
    • 60 Nick Pinkerton
    Katie Wech's script is a carousel of reassuringly familiar plot lines, kept smoothly revolving.
    • 48 Metascore
    • 60 Nick Pinkerton
    Picasso and Braque's primary merit is its archive-raiding evocation of the period discussed through vintage nitrate images.
    • 45 Metascore
    • 60 Nick Pinkerton
    The most spot-on scenes show passive-aggressive hipster clerks snorting at Keith's flyers for a comeback fundraiser rave and a city suffocating on its own cool.
    • tbd Metascore
    • 60 Nick Pinkerton
    Koechlin, a striking woman with a slim frame, horse mouth, and big turbulent eyes, has screen presence enough to kick along the frequently-stalling psychodrama up to an ending that seems like a tossing up of hands.
    • 30 Metascore
    • 60 Nick Pinkerton
    Likable enough to wear you down with its eager-to-please capering.
    • 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.
    • 45 Metascore
    • 60 Nick Pinkerton
    There's no matching the sinister village faces in Peckinpah's cast or the psychological acuity of his scene-making, but Lurie shows himself man enough for the material.
    • 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.
    • 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.
    • 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.

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