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 7.3 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
    • 51 Metascore
    • 40 Nick Pinkerton
    Has the parallel between the actor and the mercenary's trade ever been so overt?
    • 39 Metascore
    • 40 Nick Pinkerton
    Anderson['s] lavish visual imagination is matched to a placeholder idea of character that's almost avant-garde in its generic stylization, dialogue buffed of personality by passing through 10,000 previous movies.
    • 45 Metascore
    • 40 Nick Pinkerton
    Taken 2 rarely embodies the values of concision and focus that it extols, and any breathing room from the hurtling narrative illogic only allows the audience opportunity to notice slips in Mills's father-knows-best infallibility.
    • 40 Metascore
    • 40 Nick Pinkerton
    Boom was produced under the auspices of pal Adam Sandler's Happy Madison Productions, which has a tendency toward broad-comic morality tales and multiplex populism that often shades into remedial-level pandering.
    • 55 Metascore
    • 40 Nick Pinkerton
    Each segment feels more like an extended trailer for itself than a sound narrative unit. Maybe this incompletion is purposeful, but it's a problem when what's invariably elided or taken for granted is the very human connection and commiseration that is supposedly the most vital force in the universe.
    • 31 Metascore
    • 40 Nick Pinkerton
    Single-mindedly action-oriented to the point where Milius's film seems relatively ruminative.
    • 18 Metascore
    • 40 Nick Pinkerton
    It's the kind of thing you feel you should laugh at through a phlegmy, hacking cough-and it does get laughs, if inconsistently, predictable given the circumstances of production.
    • 28 Metascore
    • 40 Nick Pinkerton
    With neither the moral bite of satire nor a voluptuary surrender that really basks in shallowness, this is a vague, unsatisfying work.
    • 33 Metascore
    • 30 Nick Pinkerton
    Bracingly inept.
    • 40 Metascore
    • 30 Nick Pinkerton
    Every gag is smothered by the prevailing tone of labored zaniness and generic, plucky "mischief music" alerting discerning viewers to abandon all hope of laughter.
    • 25 Metascore
    • 30 Nick Pinkerton
    All might be good for a flask-to-the-theater laugh, if not for the unconscionable price gouging.
    • 44 Metascore
    • 30 Nick Pinkerton
    Cage's avenger is named Milton; this reference to the author of Paradise Lost is the sole hint that Old World culture ever existed in Drive Angry's convoy of hyperbolized-unto-parody Americana: bad drawls, obese gawkers, roadhouse demonology, coochie-cutter shorts, and engines revving under guitar stomp.
    • 30 Metascore
    • 30 Nick Pinkerton
    While Sandler has never trafficked in epigrammatic wit, there's a difference between, say, Billy Madison's "Of course I peed my pants--everyone my age pees their pants" or "I Now Pronounce You Chuck and Larry's" shakedown of hetero squeamishness, and this lazy stuff--the difference between smart-dumb and plain-dumb.
    • 74 Metascore
    • 30 Nick Pinkerton
    It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams--and his barren Inception doesn't capture much of either.
    • 35 Metascore
    • 30 Nick Pinkerton
    An unnecessary retelling of rock's dingiest "legend"--ever get the feeling you've been cheated?
    • 27 Metascore
    • 30 Nick Pinkerton
    Game performances and a couple of half-laughs, sure, but this is the screen comedy equivalent of the televised Yule log.
    • 45 Metascore
    • 30 Nick Pinkerton
    Sauvaire, hesitating between a protest picture and a glam-squalid imagist orgy, only succeeds in scattering human rubble across the screen.
    • 25 Metascore
    • 30 Nick Pinkerton
    The most avid fans of merciless mugging will be the sole admirers of the bookending story of Liu Xiaoye's Butcher.
    • 31 Metascore
    • 30 Nick Pinkerton
    Your Highness plays like a dirty-joke blooper reel made by the cast of a junky sword-and-sorcery epic.
    • 52 Metascore
    • 30 Nick Pinkerton
    The enjoyable moments are limited to Alison Brie, funny as Sidney's publicist, and the final recasting of the movie as a backstage diva drama. As ever, the self-reflexive horror stuff is superficial, loveless, and constant-a ladled-on sauce to disguise what you're eating.
    • 55 Metascore
    • 30 Nick Pinkerton
    The film is a burdensome two hours.
    • 41 Metascore
    • 30 Nick Pinkerton
    Graynor is a muddle of kooky indie girlfriend and materialistic fortune hunter; Hanks has neither threat nor pathos at his command.
    • 53 Metascore
    • 30 Nick Pinkerton
    This crude, overlong chunk of kung-fu kitsch lays its scene in a 1920s Republican China, torn by internecine fighting and weighed down by drably expensive production design.
    • 37 Metascore
    • 30 Nick Pinkerton
    If the success of epic storytelling were determined by the sheer number of unnecessary on-screen name tags, 1911 would be a masterpiece. But the small matters of characterization, audience identification, and scene-making are entirely absent here.
    • 59 Metascore
    • 30 Nick Pinkerton
    Weixler is an alert, mobile comedienne who deserves better than this awkward pause, nervous stammer, social-anxiety comedy.
    • 40 Metascore
    • 30 Nick Pinkerton
    It's impossible to imagine how anything this convoluted could have already earned a sequel, but it has.
    • 53 Metascore
    • 30 Nick Pinkerton
    Rid of Me is a bad movie, but at least it's a flailing, innocent badness.
    • 28 Metascore
    • 30 Nick Pinkerton
    Neither intellectually nor viscerally engaging, what The Divide finally offers audiences is the not-terribly-edifying, stagnant experience of being locked in a basement with a pack of assholes.
    • 29 Metascore
    • 30 Nick Pinkerton
    The forced horseplay is entirely without ensemble chemistry, probably because the leads were hired principally as singers/musicians, as this, the directorial debut of former Law & Order: Criminal Intent star Vincent D'Onofrio, is that rarest of mongrel movies: a slasher/musical.
    • 32 Metascore
    • 30 Nick Pinkerton
    It's an overloaded, overwrought, profligate production inclined to hysteria and, in cumulative effect, something like being pelted with scenes until buried alive - but it helps keep it from being boring.

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