Nick Pinkerton

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L.A. Weekly, Village Voice
For 304 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 11.9 points lower than other critics. (0-100 point scale)

Nick Pinkerton's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Little Fugitive (re-release)
Lowest review score: 0 30 Beats
Score distribution:
  1. Positive: 106 out of 304
  2. Mixed: 152 out of 304
  3. Negative: 46 out of 304
304 movie reviews
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    • tbd Metascore
    • 70 Nick Pinkerton
    The Woman in the Septic Tank
    The novel and wickedly funny topic is mined for only a portion of its potential, but a little ironic astringency is certainly more unsettling than by-the-book slum drama.
    • 69 Metascore
    • 70 Nick Pinkerton
    In Another Country
    The cumulative impression is of figures being lightly traced in the sand only to be inevitably washed away, intentionally ephemeral and quite charming for it.
    • 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.
    • 64 Metascore
    • 70 Nick Pinkerton
    The Innkeepers
    It's this youthful denial of vulnerability that makes West's slow-sidling haunted-house movies work. He understands the kidding way that his audience approaches horror and seems to play along with that jokey imperviousness - until rudely tearing up the all-in-good-fun contract, gouging us with actual pain.
    • 39 Metascore
    • 70 Nick Pinkerton
    Underworld: Awakening
    The entire production is single-mindedly, earnestly devoted to serving up feats of BADASS, and it succeeds in this devotion to the exclusion of everything else. Allegedly in 3-D, though I didn't notice at the time.
    • 70 Metascore
    • 70 Nick Pinkerton
    Portrait of Wally
    Shea's documentary is a well-arranged if rather drawn-out parade of talking heads telling Wally's story, including a trenchant and funny Morley Safer, never missing a chance to knock the art world.
    • 72 Metascore
    • 60 Nick Pinkerton
    Daylight
    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.
    • 52 Metascore
    • 60 Nick Pinkerton
    Casa de mi Padre
    The humor doesn't only target south of the border. Like any good genre product, Casa also smuggles in rude social criticism.
    • 66 Metascore
    • 60 Nick Pinkerton
    The Girl Who Leapt Through Time
    It’s basically the equivalent of a sensitively wrought read from the Young Adult shelf, and there’s naught wrong with that.
    • 63 Metascore
    • 60 Nick Pinkerton
    Under Control
    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.
    • 74 Metascore
    • 60 Nick Pinkerton
    Farewell
    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.
    • 69 Metascore
    • 60 Nick Pinkerton
    Romantics Anonymous
    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.
    • 38 Metascore
    • 60 Nick Pinkerton
    Seeking Justice
    Seeking Justice is the kind of effective middle-range pulp thriller that has lately become an endangered species.
    • 45 Metascore
    • 60 Nick Pinkerton
    The Expendables
    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.
    • 50 Metascore
    • 60 Nick Pinkerton
    Cowboys & Aliens
    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.
    • 49 Metascore
    • 60 Nick Pinkerton
    Texas Killing Fields
    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.
    • 51 Metascore
    • 60 Nick Pinkerton
    Predators
    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.
    • 56 Metascore
    • 60 Nick Pinkerton
    Real Steel
    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.
    • 50 Metascore
    • 60 Nick Pinkerton
    Prom
    Katie Wech's script is a carousel of reassuringly familiar plot lines, kept smoothly revolving.
    • 48 Metascore
    • 60 Nick Pinkerton
    Picasso and Braque Go to the Movies
    Picasso and Braque's primary merit is its archive-raiding evocation of the period discussed through vintage nitrate images.
    • 45 Metascore
    • 60 Nick Pinkerton
    Happy Life
    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.
    • tbd Metascore
    • 60 Nick Pinkerton
    That Girl in Yellow Boots
    Koechlin, a striking woman with a slim frame, horse mouth, and big turbulent eyes, has screen presence enough to kick along the frequently-stalling psychodrama up to an ending that seems like a tossing up of hands.
    • 30 Metascore
    • 60 Nick Pinkerton
    Speed-Dating
    Likable enough to wear you down with its eager-to-please capering.
    • 74 Metascore
    • 60 Nick Pinkerton
    How I Ended This Summer
    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.
    • 45 Metascore
    • 60 Nick Pinkerton
    Straw Dogs
    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.
    • 76 Metascore
    • 60 Nick Pinkerton
    Submarine
    Though Submarine isn't a dull head-movie, amid the bells and whistles, Roberts seems less its star than its cameraman.
    • 63 Metascore
    • 60 Nick Pinkerton
    Klitschko
    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.
    • 67 Metascore
    • 60 Nick Pinkerton
    Abendland
    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.
    • 51 Metascore
    • 60 Nick Pinkerton
    Contraband
    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.
    • 61 Metascore
    • 60 Nick Pinkerton
    The Wackness
    All the drug-slinging material's counterfeit, but the script is refreshingly straight-faced in looking at the strange relationship between white boys and rap.
    • Village Voice
    • 53 Metascore
    • 60 Nick Pinkerton
    The Awakening
    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.
    • 34 Metascore
    • 60 Nick Pinkerton
    Mother's Day
    Mother's Day is distinguished, at least, by De Mornay's porcelain-smile lampoon of castigating matriarchy.
    • 42 Metascore
    • 60 Nick Pinkerton
    Madea's Witness Protection
    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.
    • 64 Metascore
    • 60 Nick Pinkerton
    The Last Rites of Joe May
    Farina is un-self-conscious and true enough to alchemize cliché.
    • 60 Metascore
    • 60 Nick Pinkerton
    Trust
    "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.
    • 61 Metascore
    • 50 Nick Pinkerton
    The Karate Kid
    There is the impression, deadly to the sense of fun, that the talent here actually thought they were remaking a classic.
    • 44 Metascore
    • 50 Nick Pinkerton
    Faster
    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.
    • 36 Metascore
    • 50 Nick Pinkerton
    Something Borrowed
    It's clear that Something Borrowed finds it easier to tell us about relationships than to show us them under way.
    • 64 Metascore
    • 50 Nick Pinkerton
    Prometheus
    With this overreaching Prometheus, Scott seems a bit like David carefully arranging his hair in imitation of O'Toole's Lawrence. He can still mimic the appearance of an epic, noble, important movie - but the appearance is all.
    • 34 Metascore
    • 50 Nick Pinkerton
    Ghost Rider: Spirit of Vengeance
    Cage-ophiles will find some delectable freakouts in Blaze's transformation - or near transformation - scenes. Otherwise, the committee-penned script combines yokel-friendly haw-haw irreverence (non-sequitur cutaways to the Rider pissing in a flamethrower pattern) and sweaty monologues about "controlling the Rider" (the character is basically a mean drunk's superhero).
    • 42 Metascore
    • 50 Nick Pinkerton
    Ironclad
    While Ironclad captures the casual cruelty and flesh-and-bone violence of the 13th century, it fails to do the same in the more intimate material set in the downtime between assaults.
    • 59 Metascore
    • 50 Nick Pinkerton
    Wall Street: Money Never Sleeps
    "We're all mixed bags" is the conclusion of unwieldy mixed bag Wall Street: Money Never Sleeps.
    • 55 Metascore
    • 50 Nick Pinkerton
    Promised Land
    Van Sant knows how to display the common touch, but the movie is a hard sell whose ending is never in doubt.
    • 63 Metascore
    • 50 Nick Pinkerton
    Return
    Firmly in the unassuming indie vein, Return treads lightly and leaves little imprint.
    • 45 Metascore
    • 50 Nick Pinkerton
    Colombiana
    Possibly worth seeing if you are 13, as the hot Rihanna-looking chick shows sideboob.
    • 48 Metascore
    • 50 Nick Pinkerton
    Crazy Wisdom: The Life & Times of Chogyam Trungpa Rinpoche
    It is suggested that Trungpa was in possession of yeshe chölwa-the title's "crazy wisdom" - and, as a sort of holy fool, his apparent misbehavior could be read as a manifestation of higher spiritual truths. If you're determined to see something, it's easy to find it - so those inclined to interest in Tibetan Buddhism will discover something here.
    • 66 Metascore
    • 50 Nick Pinkerton
    Dark Horse
    With Solondz's old-hat funeral deadpan and his efforts to pass off Abe's adolescent rage as elevated insight, Dark Horse is neither incisively black-comic nor particularly attuned to human behavior - proof that some directors, at least, do end up the way they started out.
    • 43 Metascore
    • 50 Nick Pinkerton
    The Romantics
    It is uncertain, though, how this material is served by disheveled cinematography, shooting handheld on the Hi 8 camcorder I had in high school, apparently editing on two VCRs, and flooding the mix with Forever 21 dressing-room music.
    • 44 Metascore
    • 50 Nick Pinkerton
    Devil
    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.
    • tbd Metascore
    • 50 Nick Pinkerton
    Iconoclast: Boyd Rice
    The most genial professed social Darwinist you could ever meet, Rice has never stopped to explain how much of his persona is a goof. Likewise, Larry Wessel's documentary portrait Iconoclast doesn't bother to synopsize its subject for the novice before setting off on its four-hour journey.
    • 60 Metascore
    • 50 Nick Pinkerton
    Fightville
    The language of ground-and-pound fighting remains untranslated for those not fluent in MMA, though ample space is given to the men's discussion of their individual warrior philosophies, illustrated with quotes from Nietzsche, P.T. Barnum, and Virgil.
    • 56 Metascore
    • 50 Nick Pinkerton
    Sequestro: A Story of Kidnapping
    Staying squarely with those victims, what Sequestro does crudely do is communicate the only really sensible platform-an abhorrence of cruelty.
    • 46 Metascore
    • 50 Nick Pinkerton
    Extremely Loud and Incredibly Close
    Such an abundance of "epiphanies," one after another, amount to a tactical assault on viewer sentiments. The deluge of tears is Daldry's idea of pathos, but to these eyes, it's Oscar-trolling 9/11 kitsch.
    • 53 Metascore
    • 50 Nick Pinkerton
    Paranormal Activity 2
    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.
    • 68 Metascore
    • 50 Nick Pinkerton
    The Adventures of Tintin
    Adventures is an awesome movie mechanism, but awe comes at a cost. The Tintin character is something like a blank spot at the movie's center, most vivid (unfortunately) as a plucky, priggish motivational speaker when he coaches Haddock out of a drinking problem.
    • 52 Metascore
    • 50 Nick Pinkerton
    The Devil's Double
    Ignoring all but the most obvious tensions in the Uday-Latif symbiosis, Devil's Double is static drama, with Michael Thomas's script establishing relationships as if perfunctorily pressing buttons marked "Father-Son Dynamic" and "Forbidden Love Affair," failing to dignify these themes with individuality.
    • 50 Metascore
    • 50 Nick Pinkerton
    Kill the Irishman
    Though director Jonathan Hensleigh (The Punisher) perks up when filming violence, the atmosphere throughout is past-prime, stymieing any strut.
    • 68 Metascore
    • 50 Nick Pinkerton
    A Somewhat Gentle Man
    The grungy setting and unflattering photography are only camouflage for callow, creeping sentimentality.
    • 79 Metascore
    • 50 Nick Pinkerton
    Let Me In
    There's a human tragedy somewhere here-but aggrandized puppy-love romance and stylish revenge fantasy is all that lingers.
    • 69 Metascore
    • 50 Nick Pinkerton
    Alps
    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
    Sherlock Holmes: A Game of Shadows
    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
    Dangerous Liaisons (2012)
    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
    A Woman, a Gun and a Noodle Shop
    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
    Gulliver's Travels
    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
    Ruby Sparks
    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 Nine Muses
    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
    2 Days in New York
    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
    Vengeance
    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
    Sleepless Nights Stories
    More often, Mekas's focus on "names" comes off as a cloistered insensitivity to the wider world.
    • 40 Metascore
    • 50 Nick Pinkerton
    Act of Valor
    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
    Lawless
    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
    Blank City
    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
    Hellbound?
    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
    The Roommate
    It's exactly what you thought it would be: A plagiarized, campus-set "Single White Female" pitched to teens.
    • 69 Metascore
    • 50 Nick Pinkerton
    Fair Game
    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.
    • 95 Metascore
    • 50 Nick Pinkerton
    Amour
    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
    Anonymous
    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.
    • 68 Metascore
    • 50 Nick Pinkerton
    Like Crazy
    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.
    • 81 Metascore
    • 50 Nick Pinkerton
    The Man Who Fell to Earth
    Undeniably long, Panavision-wide, but of questionable depth.
    • 56 Metascore
    • 50 Nick Pinkerton
    On the Road
    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
    The Lion of Judah
    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
    A Screaming Man
    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
    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
    Snow White and the Huntsman
    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
    Angels Crest
    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
    The Other Guys
    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
    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
    Immortals
    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
    Hugh Hefner: Playboy, Activist and Rebel
    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.
    • 57 Metascore
    • 50 Nick Pinkerton
    Toast
    Slater's book was evidently an ax-grinder, and the resulting film, directed with tone-deaf comic rhythm by S.J. Clarkson, shows pity and bemusement for the people raising Nigel but rarely human interest in them. More damning still, even the food looks ugly.
    • 56 Metascore
    • 50 Nick Pinkerton
    God Bless America
    The interplay between Murray and Barr is closely and carefully handled, but when the monotonous squib-popping subsides, the movie is often static and talky, lapsing into criticism-hedging qualifications and anti-everything speechifying.
    • 50 Metascore
    • 50 Nick Pinkerton
    Dog Sweat
    It might be sufficient that Dog Sweat exists at all - but only if you believe intention trumps execution.
    • 38 Metascore
    • 50 Nick Pinkerton
    The Collection
    The Collection doesn't have much to recommend it beyond a first-reel bloodbath rivaling "Blade" and "Death Ship."
    • 44 Metascore
    • 40 Nick Pinkerton
    Five Time Champion
    Rule of thumb: If a movie about how life is messy features someone lecturing about how messy life is, that movie is not nearly messy enough to do justice to life.
    • 62 Metascore
    • 40 Nick Pinkerton
    Red Hill
    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.
    • 43 Metascore
    • 40 Nick Pinkerton
    360
    There are fleeting moments, but Morgan's narrative promiscuity leaves 360 feeling only spread out and empty.
    • 45 Metascore
    • 40 Nick Pinkerton
    Miral
    Miral is a very flat, fuddled movie, an at-odds-with-itself partisan work, its convictions diffused in a warm soak of style.
    • 50 Metascore
    • 40 Nick Pinkerton
    Septien
    Never the same movie for five minutes straight, Septien can't sit still.
    • 28 Metascore
    • 40 Nick Pinkerton
    Season of the Witch
    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.
    • tbd Metascore
    • 40 Nick Pinkerton
    The Story of Film: An Odyssey
    More irksome, the clips, often improperly masked or displaying conversion issues, are rarely drawn from the best available materials. This scruffiness would be easily forgiven if there were something sufficiently "innovative" in Cousins's approach to transcend the cut-rate production value. Instead, this Story, for all its claims of rewriting, is too reliant on received film-buff wisdom.
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