Nick Pinkerton Movie Reviews & Previews - Rotten Tomatoes

Movie Reviews Only

Rating T-Meter Title | Year Review
91% The Cabin in the Woods (2012) Its frustrations with the genre aren't misdirected, but Cabin is really a treatise on the horror movie of twenty-or-more years ago.‐ Esquire Magazine
Read More | Posted Oct 17, 2018
No Score Yet The Flower (La flor) (2016) It is confidential and slightly uncomfortable and beautiful and unflinchingly honest in its longing-an honesty that could only obtain the emotional release that it does by first working its way through a tremendous amount of make-believe.‐ Reverse Shot
Read More | Posted Oct 12, 2018
88% Long Day's Journey Into Night (Di qiu zui hou de ye wan) (2018) There is some satisfaction that comes in seeing motifs and symbols established within the first part of Long Day's Journey Into Night as they re-emerge in the galvanizing high-wire act performance of the second.‐ Reverse Shot
Read More | Posted Oct 11, 2018
100% A Family Tour (2018) Ying sometimes drapes his themes on the surface of his movie rather than integrating them in its visual patterning. Such transgressions only somewhat dilute the plangent and poignant qualities of A Family Tour‐ Reverse Shot
Read More | Posted Oct 11, 2018
71% Asako I & II (Netemo sametemo) (2018) Asako I & II, the follow-up to Hamaguchi's study in the group dynamics of four thirty-something female friends, Happy Hour... works in every bit as much feeling and active intelligence as its predecessor.‐ Reverse Shot
Read More | Posted Oct 11, 2018
71% In My Room (2018) Drum-tight and wonderfully well thought through.‐ Reverse Shot
Read More | Posted Oct 11, 2018
95% Hale County This Morning, This Evening (2018) In Ross's hands, intimate, human, physically-grounded episodes routinely become passageways opening onto the operations of nature.‐ Artforum
Read More | Posted Sep 13, 2018
90% Notes on an Appearance (2018) A small, curiously enticing movie with the aspect of a game about it, a deceptively simple looking game with only a few moving pieces, though you'll have to muddle through without the instruction book‐ Reverse Shot
Read More | Posted Aug 17, 2018
45% The Meg (2018) By any number, The Meg is the hugest shark picture ever made, but like so much that passes as spectacle, it ain't really big - just tall, that's all. ‐ Reverse Shot
Read More | Posted Aug 17, 2018
7 72% Christopher Robin (2018) Christopher Robin bobs along agreeably, a mellow, often melancholy and entirely diverting job of work that keeps the spirit of the characters intact.‐ Sight and Sound
Read More | Posted Aug 17, 2018
95% BlacKkKlansman (2018) The Lee touches are there, yes, but missing from BlackKklansman is the temerity to touch the live wire, the feeling of dangerous imperative. He has found a remarkable subject, but only skimmed its surface.‐ Reverse Shot
Read More | Posted Aug 15, 2018
98% Chimes at Midnight (1965) Chimes at Midnight reflects the director's proclivity for out-of-step dreamers who prefer their lovely, useless fancies to cold, pragmatic practicalities. ‐ Artforum
Read More | Posted Aug 14, 2018
86% Life of Pi (2012) Lee shows his hero's imperilled position as a mixed blessing. By tottering on the ledge of his mortality, Pi gains a front-row seat on the miracles of creation... All this is, in a word, Awesome.‐ Sight and Sound
Read More | Posted Jul 31, 2018
57% Unfriended: Dark Web (2018) Dark Web, not overly compromised by success, retains its predecessor's sense of lo-fi menace, marrying the now-established "rules" of the budding franchise to a fresh storyline.‐ Reverse Shot
Read More | Posted Jul 26, 2018
23% Conan the Barbarian (2011) It is right that a new Conan film must look for its own identity, but one immediately notices that in the absence of Milius's saga-paced direction... and Schwarzenegger's special-effect physique, very little has been introduced to replace them. ‐ Sight and Sound
Read More | Posted Jul 9, 2018
63% Uncle Drew (2018) The very fact that Uncle Drew warrants quibbling is a measure of its qualified success, for it belongs to two individually unpromising subgenres that, in combination, should almost certainly be dire.‐ Reverse Shot
Read More | Posted Jun 29, 2018
89% Araby (Arábia) (2018) Araby is a film of almost nothing but stories, one man's story that itself is a warren of little stories, little testaments to the survival of the oral tradition on the margins of a digitized society.‐ Reverse Shot
Read More | Posted Jun 22, 2018
89% Hereditary (2018) The visually hyper-articulate Ari Aster understands one important thing that any director working in the horror/thriller mode should: that the half-seen is more terrible than the big reveal.‐ 4Columns
Read More | Posted Jun 8, 2018
93% First Reformed (2018) Hawke gives an extraordinarily controlled performance as a man struggling mightily to retain dominion over himself...every minute detail of which speaks to an almost unendurable act of self-regulation.‐ Reverse Shot
Read More | Posted May 23, 2018
86% Let the Sunshine In (Un beau soleil intérieur) (2018) This is a cinema as rich as life itself, a distillation and decoding of the language of gesture of which our existences are comprised.‐ Reverse Shot
Read More | Posted Apr 26, 2018
80% Helmut Berger, Actor (2015) If anything, Helmut Berger, Actor emerges as a testament to Berger's indomitability, his improbable imperviousness to such a treatment, for even when he looks awful in front of Horvath's camera, he looks magnificently awful.‐ Reverse Shot
Read More | Posted Apr 19, 2018
85% The Master (2012) Towering standalone moments all, they are certainly impressive when first encountered, though they wobble perilously the longer one looks at them...It isn't a great film - but it has a great film rattling around inside it.‐ Sight and Sound
Read More | Posted Apr 9, 2018
49% The Great Gatsby (2013) It is not the novel, no, but happy to report, the madly embattled result is a real movie.‐ Sight and Sound
Read More | Posted Apr 4, 2018
80% Unsane (2018) Narrative improbabilities abound in Unsane, but these mostly work in the interest of the is-she-or-isn't-she game the movie plays with its harried, suspected-mad main character.‐ Reverse Shot
Read More | Posted Mar 30, 2018
89% Isle of Dogs (2018) His movies have never been quite so piquantly quotable since he lost Owen Wilson as co-writer and collaborator, but Isle of Dogs contains some of the most finely-calibrated sight gags that he's ever set into motion. ‐ Artforum
Read More | Posted Mar 30, 2018
95% 12 Days (12 Jours) (2018) Depardon's approach is patient, observant, unobtrusive ... but beneath this calm one feels the faint tremble of an anger held in check, a bottled-up scream.‐ Reverse Shot
Read More | Posted Mar 16, 2018
90% Werewolf (2018) Scene by scene, what McKenzie is after is capturing the process of a young woman walling herself off from sentimental appeal in order to save her own life, steeling herself for the long walk away from the wreck of her man.‐ Film Comment Magazine
Read More | Posted Mar 8, 2018
7 99% Lady Bird (2017) While there is an acute authorial intelligence informing the transitions between scenes, the steady trot of clipped vignettes comes to seem monotonous and somewhat evasive, a way to move along before anything too hard and hurtful happens.‐ Sight and Sound
Read More | Posted Feb 16, 2018
57% The Commuter (2018) Moral and muscular, it's the action-movie illustration of Howard Zinn's proverb, "You can't be neutral on a moving train."‐ Film Comment Magazine
Read More | Posted Jan 3, 2018
92% Mountains May Depart (Shan he gu ren) (2016) Jia and Yu have, unsurprisingly, made a movie of taciturn eloquence, always sure-footed in negotiating its discursive narrative construction, even as it sometimes wobbles at the level of performance.‐ Sight and Sound
Read More | Posted Jan 3, 2018
50% Downsizing (2017) [Alexander] Payne and his collaborators have not shrunk from any challenge.‐ Artforum
Read More | Posted Dec 20, 2017
92% Three Billboards Outside Ebbing, Missouri (2017) ... while McDonagh's film doesn't lack for gallows humor and pitch-dark stuff, it's in the department of truth that it comes up short.‐ Film Comment Magazine
Read More | Posted Nov 3, 2017
78% The Beguiled (2017) It isn't a suspense movie, it isn't a dissection of race relations in the Civil War South, it isn't a bask in the dying light of the agrarian gentry, it isn't even particularly sexed-up and bodice-ripping lascivious.‐ Reverse Shot
Read More | Posted Oct 12, 2017
92% On the Beach at Night Alone (Bamui haebyun-eoseo honja) (2017) The movie seem to turn away from the very idea that there is anything to build toward, in either life and in art: things happen and then more things happen.‐ Reverse Shot
Read More | Posted Oct 12, 2017
97% Ex Libris: New York Public Library (2017) Ex Libris is nothing short of emancipatory.‐ Artforum
Read More | Posted Sep 15, 2017
5 69% mother! (2017) With this brash, ludicrous, bludgeoning film Aronofsky has made a work that embodies the pervasive feeling that no domestic fortifications can hold the day against what's on the horizon.‐ Sight and Sound
Read More | Posted Sep 14, 2017
16% The Dark Tower (2017) No one involved in The Dark Tower seems to have given a damn about what they turned out, so why should anybody else?‐ Sight and Sound
Read More | Posted Sep 4, 2017
92% Logan Lucky (2017) Logan Lucky feels like the work of a filmmaker with nothing to prove, neither sententious seriousness of purpose nor technical knowhow.‐ Artforum
Read More | Posted Aug 24, 2017
87% Mutual Appreciation (2006) If much of what I dislike in Bujalski's filmmaking must be accounted for by my objection to the milieu his films travel in, this shouldn't suggest that the filmmaking itself is anything close to competent.‐ Stop Smiling
Read More | Posted Aug 24, 2017
84% Detroit (2017) Detroit succumbs to problems endemic to "Based on Real Events" prestige properties, films that too often are preoccupied with the truth while not feeling entirely honest-the latter being what we should demand of art.‐ Reverse Shot
Read More | Posted Aug 4, 2017
100% Mister Universo (2016) [A] warm and worthy film ...‐ Artforum
Read More | Posted Jul 21, 2017
91% A Ghost Story (2017) A Ghost Story fairly pulses with a tender regard for the precious fragility of any domestic shelter, from the frontier to the high-rise.‐ Artforum
Read More | Posted Jul 13, 2017
100% My Journey Through French Cinema (Voyage À Travers Le Cinéma Français) (2017) A magisterial piece of cinema criticism: three hours out of the day, though offering months of viewing fodder.‐ Reverse Shot
Read More | Posted Jun 22, 2017
31% King Arthur: Legend Of The Sword (2017) Ritchie's movie is handicapped by its obedience to the rules of modern franchising, putting aside much of the most potent Arthurian lore to instead tell a protracted Round Table origin story.‐ Sight and Sound
Read More | Posted May 19, 2017
81% A Woman's Life (Une vie) (2017) Defined by a blind obeisance to its own template of stylistic choices-one generation's liberated cinema now degraded to a stereotyped, pre-chewed naturalism.‐ Reverse Shot
Read More | Posted May 5, 2017
66% Slack Bay (Ma loute) (2017) For all the talk of Dumont's rebirth, Slack Bay is of a piece with a larger oeuvre that feels at once grandly uncompromised and absent of any passionate belief to compromise ...‐ Reverse Shot
Read More | Posted Apr 27, 2017
89% By the Time It Gets Dark (Dao khanong) (2017) Suwichakornpong achingly recognizes the gulf between pseudo-knowledge and lived wisdom, and it is in this liminal zone that she has chosen to work.‐ Artforum
Read More | Posted Apr 20, 2017
86% The Lost City of Z (2017) Gray's cinema is intractable in its devotion to direct petition of the emotions through classical storytelling, and a belief in the powers of collective intoxication and, yes, beauty.‐ Reverse Shot
Read More | Posted Apr 20, 2017
67% All These Sleepless Nights (2017) A movie which consists of a Dionysian revel slowly devolving into a desperation-tinged dance of death.‐ Artforum
Read More | Posted Apr 13, 2017
69% Free Fire (2017) "I forget whose side I'm on," one of the cringing combatants hollers at one point, as if to reassure the viewer that they're not alone in their disorientation.‐ Film Comment Magazine
Read More | Posted Mar 7, 2017