For 191 reviews, this critic has graded:
  • 40% higher than the average critic
  • 8% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 4.9 points lower than other critics. (0-100 point scale)

Aaron Hillis' Scores

  • Movies
  • TV
Average review score: 58
Highest review score: 100 Spider-Man 2
Lowest review score: 0 Swearnet: The Movie
Score distribution:
  1. Positive: 96 out of 191
  2. Negative: 51 out of 191
191 movie reviews
    • 59 Metascore
    • 50 Aaron Hillis
    The film is undeniably elevated by its exotic milieu. It's a shame, then, that it's stuck with such a familiar coming-of-age call to adventure.
    • 57 Metascore
    • 70 Aaron Hillis
    As the waves of this cinematic dream break, the profundities left behind come not from character arcs, but observed states of being that feel subjectively experienced.
    • 37 Metascore
    • 40 Aaron Hillis
    The film is as shallow as its characters' oversexed conversations.
    • 68 Metascore
    • 80 Aaron Hillis
    It's a tough, gripping watch made emotionally rewarding through trenchant plotting and Gosheva's tight-lipped expressiveness.
    • 33 Metascore
    • 40 Aaron Hillis
    Jim Sturgess, Sam Worthington, and True Blood's Ryan Kwanten co-star in this glossy, lifelessly paced edition as three of the criminals, though their underwritten personas and motivations are fairly interchangeable.
    • 38 Metascore
    • 40 Aaron Hillis
    Bernard Rose's elegantly staged but tonally flat biopic embraces the myth, even underscoring Paganini's rising fame, scandalous hedonism, and womanizing as an anachronistic form of rock-star fantasy.
    • 50 Metascore
    • 40 Aaron Hillis
    This blatantly big-hearted product isn't half as vibrant as the original 2005 Wired article on which it's based, and myopically neglects to address Arizona's troubling anti-immigration legislation through even a splash of hindsight.
    • 56 Metascore
    • 60 Aaron Hillis
    All the secrets, lies, and consequences feel as authentic as the Appalachian milieu, but the film lacks the memorable idiosyncrasy of a River's Edge, or more fittingly, the myth-making lyricism of Matewan.
    • 18 Metascore
    • 0 Aaron Hillis
    Canadian comedy hits rock bottom in this abhorrent meta-infomercial.
    • 64 Metascore
    • 60 Aaron Hillis
    Despite Wilson’s early control and aesthetic confidence, there isn’t a single scripted idea of weight or emotionality that pays off.
    • 49 Metascore
    • 40 Aaron Hillis
    There are too many vaguely defined interpersonal dynamics and marginal characters (hi, Liv Tyler and Judy Greer!) that distract needlessly from the earnest tone of an outrageous set-up.
    • 20 Metascore
    • 20 Aaron Hillis
    Attempts to offer the white-knuckle gratifications of a studio procedural with a conspicuous lack of production values, screen talent, plausibility, originality, or a lick of aesthetic flair.
    • tbd Metascore
    • 70 Aaron Hillis
    Come for the cult of personality, stay for the nostalgia of a dirtier, dodgier, far cooler scene.
    • tbd Metascore
    • 30 Aaron Hillis
    There's no bite to the criminality, the motives, the acting, or filmmaking to make us care.
    • tbd Metascore
    • 10 Aaron Hillis
    It's the very definition of direct-to-video schlock.
    • 43 Metascore
    • 50 Aaron Hillis
    Mostly due to the assured polish of cinematographer Sean Stiegemeier, Chapman punches above its featherweight budget, but the punch is ultimately pulled as both strands of the narrative intersect with one last reveal of unresolved melodrama that feels coldly calculated in its cause and effect.
    • 32 Metascore
    • 30 Aaron Hillis
    There's no drama illustrating the thanklessness of their jobs, and potential wisdom about fiscal instability, animal welfare, or GMOs waft by without much argument.
    • 36 Metascore
    • 30 Aaron Hillis
    No bodices were harmed in veteran French filmmaker Patrice Leconte's chaste and bloodless English-language debut.
    • 57 Metascore
    • 60 Aaron Hillis
    Equally lionizing but richer in detail than the recent Michael Peña-led biopic César Chávez, this occasionally stirring doc portrait of the late Latino labor organizer and civil rights icon frames his legacy around a single act of protest.
    • tbd Metascore
    • 0 Aaron Hillis
    Just because you're paranoid doesn't mean your speculations are sound, your writing and filmmaking skills are passable, or that you're preaching to anyone but the fearfully converted.
    • 29 Metascore
    • 30 Aaron Hillis
    There's very little to distinguish this from every other characterless rom-com with a demographically marketable hook.
    • 62 Metascore
    • 60 Aaron Hillis
    The film takes one entire act too long to shake its mopey fog and get crackling.
    • 30 Metascore
    • 20 Aaron Hillis
    The overall comic premise is both clumsy and truly icky, because how exactly do you make progressive good on a "parody of violence against women" logline?
    • 43 Metascore
    • 30 Aaron Hillis
    Self-taught Kurdish-American filmmaker Jano Rosebiani's mostly English-language drama...is deadened by milquetoast characters, uninspired landscape photography, and no perceptible stakes.
    • 58 Metascore
    • 80 Aaron Hillis
    Amalric's impish dexterity and Del Toro's mild catatonia make for a memorable mismatch, but Jimmy P.'s profound slow burn might be too clinical for some to consider dramatic.
    • 53 Metascore
    • 70 Aaron Hillis
    Kazan holds together a decent coming-of-age script that's emotionally sincere if tonally unfocused.
    • 48 Metascore
    • 40 Aaron Hillis
    Gilsig's transformation is quietly convincing, but the film itself is flatter and less cinematically gratifying than most television dramas.
    • 49 Metascore
    • 60 Aaron Hillis
    Vertigo this ain’t, but there’s some quasi-Gothic charm in the baroque premise and eccentric marginal details, including a mathematically gifted dwarf.
    • 44 Metascore
    • 20 Aaron Hillis
    Doesn't try to be anything more than a soft-serve pull of treacly pandering.
    • 49 Metascore
    • 50 Aaron Hillis
    If the banality of life within the Bordeaux gentry is the point, then the ensuing oppressiveness is immaculately depicted through precise performances and camerawork—just don't call it emotionally engaging drama.

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