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 6.8 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
    • 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.
    • 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.
    • 48 Metascore
    • 60 Nick Pinkerton
    Picasso and Braque's primary merit is its archive-raiding evocation of the period discussed through vintage nitrate images.
    • 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.
    • 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.
    • 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.
    • 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.
    • 50 Metascore
    • 60 Nick Pinkerton
    Katie Wech's script is a carousel of reassuringly familiar plot lines, kept smoothly revolving.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 64 Metascore
    • 60 Nick Pinkerton
    Farina is un-self-conscious and true enough to alchemize cliché.
    • 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.
    • 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.
    • 51 Metascore
    • 60 Nick Pinkerton
    No one, however, could mistake Contraband for anything but what it is: a shift-job genre movie - not a bad day's work, content to match the blocky trudge of its star rather than attempt panache.
    • 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.
    • 38 Metascore
    • 60 Nick Pinkerton
    Seeking Justice is the kind of effective middle-range pulp thriller that has lately become an endangered species.
    • 34 Metascore
    • 60 Nick Pinkerton
    Mother's Day is distinguished, at least, by De Mornay's porcelain-smile lampoon of castigating matriarchy.
    • 42 Metascore
    • 60 Nick Pinkerton
    An agent of spiritual regeneration and showman, Perry's dramaturgy is as subtle as a Bible-thump, but until a logy last act that has Levy disguised as a faux-Frenchman, his instincts are on-target here.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Nick Pinkerton
    Devil is a Night Gallery reject worth experiencing only to gape at a "spirituality" that falls somewhere between Dostoyevsky and Jack Chick, and to laugh that such daring feats of narrative illogic were undertaken with a straight face.
    • 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.
    • 44 Metascore
    • 50 Nick Pinkerton
    The archetypal names are pure Walter Hill, the single-minded grudge mission borrowed from Donald Westlake's Hunter books - fine antecedents, though director George Tillman Jr.'s style is anything but terse, indulging rote slo-mo swagger set to secondhand musical cues.