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 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
    • 36 Metascore
    • 50 Nick Pinkerton
    The Collection doesn't have much to recommend it beyond a first-reel bloodbath rivaling "Blade" and "Death Ship."
    • 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.
    • 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.
    • 55 Metascore
    • 50 Nick Pinkerton
    Van Sant knows how to display the common touch, but the movie is a hard sell whose ending is never in doubt.
    • 28 Metascore
    • 40 Nick Pinkerton
    The makeup department's glommed-on plague pustules are fantastic, but the concession to modern technology in a badly rendered last-act CGI demon, cut and pasted from a Diablo II screen-grab, is so eminently lame as to cure all fear of hellfire.
    • 43 Metascore
    • 40 Nick Pinkerton
    The inevitable all-you-can-eat orgy of zombies pulling stringy mouthfuls away from red, wet rib cages may satisfy gorehounds, but big set pieces showing how atrophied Romero's cutting and tactical framing have become is depressing to anyone who has valued his films for more than just splatter.
    • 45 Metascore
    • 40 Nick Pinkerton
    (It) notably liberated itself from the fusty tradition that a sex comedy should either titillate or tickle an audience.
    • 54 Metascore
    • 40 Nick Pinkerton
    None of the dialogue, presumably arrived at through improvisation, is either funny or memorable.
    • 57 Metascore
    • 40 Nick Pinkerton
    All Good Things patina of fictionalization has not prevented the cagey Durst Organization from threatening a lawsuit. They need not worry, though. The film succeeds only in indicting its authors.
    • 59 Metascore
    • 40 Nick Pinkerton
    The production design is nice enough, but Bouchareb's four-country co-production isn't an epic-it's just long.
    • 62 Metascore
    • 40 Nick Pinkerton
    It's clear that Hughes knows his Midnight Oil, but he's ignorant of the craft of economic action filmmaking. However arguably noble his film's intent to redress historical grievance, a poorly filmed shoot-out is never more than exactly that.
    • 52 Metascore
    • 40 Nick Pinkerton
    Sillen ennobles the havoc of his life with a measure of down-and-out romance, but no moments really puncture a viewer, and the darkness is all too easily shaken off.
    • 38 Metascore
    • 40 Nick Pinkerton
    Michael's motivations remain arbitrary and inscrutable, right down to his entry into the seminary. This is brought up by a number of characters, who interpret his implausible career decision as A Sign. It is-of bad writing.
    • 64 Metascore
    • 40 Nick Pinkerton
    Too scattered in its arguments and piecemeal in its sources to weave together a convincing institutional condemnation.
    • 45 Metascore
    • 40 Nick Pinkerton
    The crazy-barista melodrama-slapstick collision seems not like a nimble twist, but tone-deaf blundering-what once came naturally now seems like trying too hard, as the Farrellys face their own mid-life crisis.
    • 42 Metascore
    • 40 Nick Pinkerton
    It's not a total wash. Faris's ample talents are squandered with a should-I-stay-or-should-I-go romantic dilemma, but there's just enough of Demetri Martin doing a prick act, and Fogler excels as a Rabelaisian dynamo.
    • 45 Metascore
    • 40 Nick Pinkerton
    "Arrested Development's" Tony Hale nearly overcomes the gently worthless script, playing Annie's dork suitor, and convincingly transforming himself from toad to prince.
    • tbd Metascore
    • 40 Nick Pinkerton
    Bereavement-miraculously as dull as its title-is neither far gone enough to be funny nor well thought-out enough to be disturbing.
    • 45 Metascore
    • 40 Nick Pinkerton
    Miral is a very flat, fuddled movie, an at-odds-with-itself partisan work, its convictions diffused in a warm soak of style.
    • 33 Metascore
    • 40 Nick Pinkerton
    His (Snyder) mash-up set pieces ("Call of Duty" meets "Castlevania," etc.) blend into so-awesome-they're-awful slo-mo monotony, and the awful sisterhood stuff in between makes you anticipate the action as though waiting for the bus.
    • 40 Metascore
    • 40 Nick Pinkerton
    Ceremony is a callow movie: Winkler exhibits no comprehension of the class anxieties he addresses, and extends precocity into adulthood. That callowness is Ceremony's subject scarcely makes it funnier.
    • 49 Metascore
    • 40 Nick Pinkerton
    Anyone who's seen a martial-arts picture expects a certain amount of thumb-twiddling between the big numbers, but director Andrew Lau's handling of exposition is markedly poor, distended with rubbish plotlines, flashy sadism, and overwrought jingo.
    • 51 Metascore
    • 40 Nick Pinkerton
    Like a child bluffing at knowing a secret, St. Nick teases and frustrates.
    • 51 Metascore
    • 40 Nick Pinkerton
    If Skateland is the sort of work Ritchie's future holds, it's proof that some talents are better off staying home.
    • 81 Metascore
    • 40 Nick Pinkerton
    Unrelentingly mundane, as if made with the sole purpose of draining the topic of adultery of any prurient interest.
    • 58 Metascore
    • 40 Nick Pinkerton
    The same laxity given to the performers extends, unfortunately, to the film's structuring, a lazy Susan rotation between storylines and monotonous settings.
    • 59 Metascore
    • 40 Nick Pinkerton
    The screenplay is by Variety editor Steven Gaydos, and it combines a working knowledge of on-set dynamics with corny cinephile in-joking, frequently elevated by the fresh evidence of Hellman's craft in the tranquil, largely nocturnal atmosphere, until the closing-credits song ruins everything.
    • 61 Metascore
    • 40 Nick Pinkerton
    As de-mythologizings go, Trollhunter has neither the wit, nor art, nor social insight to honor the legacy of George A. Romero's "Martin."
    • 49 Metascore
    • 40 Nick Pinkerton
    The long takes and lack of theatrical affect are presumably meant to heighten the realism by dispensing with film - fiction artifice, but in the process, everything that might lure a viewer - the seduction of style and plot or an engagement with characters - is forgotten.
    • 50 Metascore
    • 40 Nick Pinkerton
    Never the same movie for five minutes straight, Septien can't sit still.

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