For 141 reviews, this critic has graded:
  • 43% higher than the average critic
  • 7% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 0.4 points lower than other critics. (0-100 point scale)

Aaron Hillis' Scores

  • Movies
Average review score: 59
Highest review score: 100 Inland Empire
Lowest review score: 0 Unthinkable: An Airline Captain's Story
Score distribution:
  1. Positive: 78 out of 141
  2. Negative: 40 out of 141
141 movie reviews
    • 52 Metascore
    • 63 Aaron Hillis
    It's an overall heady conceit about image and invention, clever and fun with compelling lead performances -- especially Reynolds, who finally gets to show some chops in a career littered with Van Wilder–grade junk.
    • 74 Metascore
    • 63 Aaron Hillis
    The Orphanage's joys come from the experiential: Bayona's cultured technical skills, including some phenomenal sound design, and sustained anxiety. It's about as healthy as junk food gets.
    • 60 Metascore
    • 63 Aaron Hillis
    It may be a crowd-pleasing escapism, but it's that feel-good shmaltz that ultimately plays the film off-key.
    • 77 Metascore
    • 63 Aaron Hillis
    Dullaghan's film is a bit too straightforward and introductory to be declared a definitive portraiture. The gold nuggets worth sifting for lie in the anecdotal minutiae.
    • 72 Metascore
    • 63 Aaron Hillis
    For such a pedestrian exercise in Spielbergian sentiment, the somewhat stale Seabiscuit dunks into some gravy moments; the always dependable William H. Macy is three honks and six rattles of comic relief as the sound effects–happy, kooky radio reporter Tick Tock McGlaughlin, and the racing scenes themselves are spectacular.
    • 71 Metascore
    • 63 Aaron Hillis
    Stylistically, Carandiru is definitely less monochromatic than an "Oz" rerun.
    • 61 Metascore
    • 63 Aaron Hillis
    Subtly gaining momentum as it dexterously glides through pages of good-time, snappy dialogue, Criminal offers no time to catch your breath, let alone enough to think through its reality-stretching story flaws and subtext-lacking motives.
    • 62 Metascore
    • 63 Aaron Hillis
    It may not be saying much, but what keeps this movie afloat, aside from solid performances, is the nearly sophisticated dynamic of an otherwise redundant punchline.
    • 51 Metascore
    • 63 Aaron Hillis
    The film stubbornly refuses to fill empty space with dialogue or adhere to any structure other than its own downbeat atmosphere, forcing viewers to be intensely patient or squirm. It's the best film I’ve seen in a while that I wouldn't recommend to anyone.
    • 76 Metascore
    • 63 Aaron Hillis
    DiG! never delves deep enough to act as a true cautionary tale. It's an amusingly drunken PBS-worthy human-interest doc, unless you're too old or not cool enough to have played in the embarrassing hipster zoo, in which case DiG! may be the closest you'll ever get to the uncaged animals.
    • 49 Metascore
    • 63 Aaron Hillis
    Law owns every scene he’s in--which is literally all of them--plus a decent supporting cast and dapper dialogue truly make for a breezy good time.
    • 47 Metascore
    • 63 Aaron Hillis
    The real top billing, what audience-goers are obviously shelling out to see, is the computer-generated chaos, and as they should: Digital technology has caught up with our collective imaginations Now More Than Ever.
    • 64 Metascore
    • 63 Aaron Hillis
    Wisely unbiased-but also unfocused, uneducated, and underachieving-which makes for an occasionally hilarious, frequently anemic parody that misses its opportunity to permanently document a scathing critique of current events.
    • 41 Metascore
    • 63 Aaron Hillis
    De Niro is constantly upstaged by the showstopping, sunburnt duo of Streisand and Hoffman, but even their material is so recycled (more Focker puns, etc.) that it doesn’t matter who steals the most chuckles.
    • 61 Metascore
    • 63 Aaron Hillis
    Looks, feels, and tastes like a more accessible evolution of "Cremaster," so try to gauge your own tolerance for indulgent eccentricity (at 135 minutes, it could stand to lose 20).
    • 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.
    • 62 Metascore
    • 60 Aaron Hillis
    The film takes one entire act too long to shake its mopey fog and get crackling.
    • 60 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.
    • 58 Metascore
    • 50 Aaron Hillis
    As the phrase turns, it's better when things come off WITHOUT a hitch.
    • 56 Metascore
    • 50 Aaron Hillis
    One-dimensional fluff piece.
    • 52 Metascore
    • 50 Aaron Hillis
    When he runs out of material to tickle with, Black dips into his musically tenacious "deedle-diddle-dee" for some sure-fire ridiculousness.
    • 62 Metascore
    • 50 Aaron Hillis
    So stupendously funny at times that she (Streep) nearly salvages the whole thing.
    • 72 Metascore
    • 50 Aaron Hillis
    Technically, it rewards with nothing less than painterly cinematography and a seamless surge of organic soundscapes, but the story is entirely predicated on a weather metaphor so obvious that even an unplugged Doppler radar could detect it.
    • 67 Metascore
    • 50 Aaron Hillis
    As a fan, it's upsetting to admit that Dumont's ideas and insights have narrowed with this picture, his relaxed pacing now lethargic, his physically and mentally thick characters too familiar, and his ice-water shocks a bit predictable. It would seem self-parodic if it weren't so damn tragic.
    • 69 Metascore
    • 50 Aaron Hillis
    Directed with little flair, a one-sided perspective and a questionable sense of moral responsibility by Dan Klores (his negligent lack of an editorial voice in the couple's lunacy reeks of train-wreck exploitation), Crazy Love is a disturbingly captivating tabloid horror, but that's not Klores' doing.
    • 50 Metascore
    • 50 Aaron Hillis
    The Ten has one foot in "Monty Python's Meaning of Life" and another in their "Life of Brian," but ultimately we get the David Letterman School of Comedy: mediocre jokes continually repeated until they sometimes become uncomfortably funny.
    • 51 Metascore
    • 50 Aaron Hillis
    Favorably, Atkinson’s family-friendly, rubber-limbed professionalism can revitalize even the most vapid of material, which this certainly is. Anyone who has seen an episode of Black Adder can tell you that he’s leaps and bounds funnier than this sitcom-grade bauble.
    • 33 Metascore
    • 50 Aaron Hillis
    The dubious whimsy, devoid of any directorial voice, plays more like a very special episode of Dawson’s Creek.
    • 37 Metascore
    • 50 Aaron Hillis
    Are these iconic, antihero relics smartly satirized in a post-slasher, or is FVJ just more dated, third-wave trash? Disappointingly, it's the latter.
    • 43 Metascore
    • 50 Aaron Hillis
    Jersey Girl may have come from his soul, but it contradicts the charm of a Kevin Smith movie.