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 7.2 points lower than other critics. (0-100 point scale)

Nick Pinkerton's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 The Tree of Life
Lowest review score: 0 30 Beats
Score distribution:
  1. Positive: 99 out of 293
  2. Negative: 45 out of 293
293 movie reviews
    • 69 Metascore
    • 50 Nick Pinkerton
    It's quibbling to draw up columns denoting what Lanthimos, a difficult but undeniable talent, does right and does wrong. He's seemingly working intuitively here, and whatever missteps he makes while feeling his way forward, he manages to pass quite near to one of the essential conundrums of being human.
    • 48 Metascore
    • 50 Nick Pinkerton
    Lackluster screenwriting and the absence of actorly communion are breezed past with monotonous banter, as is the fleetingly visible plot.
    • 59 Metascore
    • 50 Nick Pinkerton
    The least one should hope for from another adaptation of Pierre Choderlos de Laclos's Dangerous Liaisons is savory, salacious trash, but nothing in Hur Jin-ho's tony new version approaches the dizzying depths of Sarah Michelle Gellar spelling out the conditions of her sex bet with Ryan Phillippe ("You can put it anywhere . . .") in 1999's "Cruel Intentions."
    • 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.
    • 33 Metascore
    • 50 Nick Pinkerton
    Black, looking like an unwashed clothes pile and capering in familiar "Uncle Jack" style, is a good babysitter, his cross-dressing turn in a doll's house a highlight.
    • 67 Metascore
    • 50 Nick Pinkerton
    She (Kazan) also wrote the screenplay, which begs interpretation as a frustrated actress's commentary on the way that even ostensibly serious writers write women - that is, for maximum convenience. Still, the direction, from Jonathan Dayton and Valerie Faris (Little Miss Sunshine), is never more than workmanlike.
    • 63 Metascore
    • 50 Nick Pinkerton
    The result is not without beauty, though at a certain point, one begins to notice that each new muse rather resembles the previous, a uniformity that restrains the film from true symphonic swell.
    • 61 Metascore
    • 50 Nick Pinkerton
    Delpy, of course, finds her father charming because he is her father, misses her mother for the same reason, and treasures her neuroses because they are her own. What viewers miss is anything inviting us to feel the same way.
    • 76 Metascore
    • 50 Nick Pinkerton
    More than once does To's grandiose imagism miraculously grant this rote thriller a gleam of the sublime, as in a trash-dump face-off staged as an epic field maneuver, or a campground shoot-out timed to the fickle light of the moon.
    • 54 Metascore
    • 50 Nick Pinkerton
    More often, Mekas's focus on "names" comes off as a cloistered insensitivity to the wider world.
    • 40 Metascore
    • 50 Nick Pinkerton
    The villains come across as individuals rather more compellingly than do the film's ostensible heroes, mostly mouthpieces for warrior credo recited in voiceover.
    • 58 Metascore
    • 50 Nick Pinkerton
    The narrative often seems at odds with the director's pictorialism, trudging when it should be striding toward the climax, isolating the performers on their marks when everything depends on taut blood-ties interconnection.
    • 70 Metascore
    • 50 Nick Pinkerton
    Danhier has made a lifestyle-nostalgia oral history after the popular "Please Kill Me" model, but gets none of the tall tales and internecine grudging that made that tome so entertaining.
    • 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."
    • 23 Metascore
    • 50 Nick Pinkerton
    It's exactly what you thought it would be: A plagiarized, campus-set "Single White Female" pitched to teens.
    • 69 Metascore
    • 50 Nick Pinkerton
    Penn's lachrymosity and hotheaded indignity seem cartooned against Watts's contained conviction-though more incongruous couples have certainly existed-but the film's assertion of Plame and Wilson as real people rather than characters consists mostly of draining them of anything compelling.
    • 94 Metascore
    • 50 Nick Pinkerton
    Haneke remains, by his rules, infallible. So what? A movie in which incident is as spare as it is in Amour can certainly be great; a movie in which ideas and feelings are so sparse cannot.
    • 50 Metascore
    • 50 Nick Pinkerton
    Emmerich's movie is sporadically enjoyable trash with better performances than it has any right to: Hogg's verminous villain leaves a trail of cold, oozing hisses.
    • 71 Metascore
    • 50 Nick Pinkerton
    The idea is to show love in incidentals rather than big scenes, but the fragments selected do not build to any significance - this is a rote story, arbitrarily scattered into abstraction.
    • 74 Metascore
    • 50 Nick Pinkerton
    Undeniably long, Panavision-wide, but of questionable depth.
    • 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.
    • tbd Metascore
    • 50 Nick Pinkerton
    It is an affecting movie - who cannot be affected by the mountains of discarded eyeglasses and shoes and children being dumped by way of slides into mass graves? - but ultimately, The Lion of Judah is no more essential than the sum of its stock footage.
    • 72 Metascore
    • 50 Nick Pinkerton
    The characterizations never comfortably accommodate Haroun's pat metaphor, though his stoic visual storytelling has an oblique gravity.
    • 72 Metascore
    • 50 Nick Pinkerton
    The Double Hour sustains a minimum of attention thanks to the naturally beguiling presence of long-stemmed Rappoport-but what might've a less cautious director done with the material?
    • 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.
    • 38 Metascore
    • 50 Nick Pinkerton
    Luxuriantly-lashed Dekker leads the most attractive cast of small-towners this side of "Twin Peaks" but, though the setting is nearly as artificial as Lynch's, the melodrama is played quite straightforwardly here, even as the dialogue frequently borders on parody.
    • 64 Metascore
    • 50 Nick Pinkerton
    Following the clues, The Other Guys turns more hectic than antic, and somebody didn't pack enough comedy for this long trip.
    • 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.
    • 46 Metascore
    • 50 Nick Pinkerton
    Given something as simple as Theseus's rousing prebattle speech, maximalist Singh is helpless, but when he gets whole armies in on the act, you've got something to behold.
    • 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.

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