David Hiltbrand
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For 118 reviews, this critic has graded:
  • 44% higher than the average critic
  • 5% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 9.1 points lower than other critics. (0-100 point scale)

David Hiltbrand's Scores

  • Movies
  • TV
Average review score: 50
Highest review score: 75 Great Expectations
Lowest review score: 12 xXx: State of the Union
Score distribution:
  1. Positive: 44 out of 118
  2. Negative: 37 out of 118
118 movie reviews
    • 44 Metascore
    • 75 David Hiltbrand
    An unusually atmospheric outing. Splatter fans may be disappointed, because Nakata isn't interested in a body count.
    • 71 Metascore
    • 75 David Hiltbrand
    Oddly enough, though Land of the Dead is more clever and grand than Romero's early classics, it is not as haunting.
    • 84 Metascore
    • 75 David Hiltbrand
    Ain't nothin' but a party, y'all.
    • 57 Metascore
    • 75 David Hiltbrand
    If you can stomach the hard-R rating, this is a smart, sexy and funny sprint.
    • 51 Metascore
    • 75 David Hiltbrand
    One caveat: The film has more blood-splatter than a dozen zombie movies. If you can handle that, Doomsday's drunken mash-up of futuristic and feudal is surprisingly satisfying.
    • 71 Metascore
    • 75 David Hiltbrand
    The tone is surreal, at once visceral and clinical, making Bronson an unsettling experience: savage, disturbing, and yet somehow fascinating.
    • 48 Metascore
    • 75 David Hiltbrand
    Part of Glee's charm has always been its innocent amateurishness, its just-folks aura. The live show clings to that conceit - with some pyrotechnics thrown in.
    • 61 Metascore
    • 75 David Hiltbrand
    The plot and dialogue are still stilted and stupid, but that only proves that Justin Lin, who has directed the last four F & Fs, has his priorities straight.
    • 74 Metascore
    • 75 David Hiltbrand
    A devastating psychological thriller, Prisoners pulls us deep into our worst fear: the Amber Alert. Then it holds us under.
    • 59 Metascore
    • 75 David Hiltbrand
    It's a tasty buffet of food gags, both visual and verbal. When they say "We're toast," they really mean it.
    • 60 Metascore
    • 75 David Hiltbrand
    More important, Nicholls has created a rich alternative conclusion, one that poignantly sweetens the love story. It's a novel approach to Great Expectations - sharp and gritty giving way to a sentimental finish - and a satisfying one.
    • 74 Metascore
    • 75 David Hiltbrand
    Frozen establishes a strong, confident tone: Cool mythology, rich, vivid animation, and 3-D effects that are actually worth seeing, not just migraine-inducing distractions.
    • 59 Metascore
    • 75 David Hiltbrand
    Lean's classic is something of a picnic compared to The Railway Man, which contains horrific scenes of torture.
    • 58 Metascore
    • 75 David Hiltbrand
    This is a very New York film with a distinctly vintage atmosphere thanks to the sepia tint and cool jazz that plays throughout scenes - and sometimes over the dialogue.
    • 68 Metascore
    • 75 David Hiltbrand
    The result is a funny and raucously lewd comedy fueled with enough penis jokes to keep an actual fraternity in stitches for a trimester.
    • 53 Metascore
    • 75 David Hiltbrand
    An exceptionally fine children's film.
    • 76 Metascore
    • 75 David Hiltbrand
    The gadgetry and fight scenes are nicely rendered. The aeronautical battles, though, fall well short of state-of-the-art. Maybe they're collateral damage to the film's goofy style.
    • 41 Metascore
    • 63 David Hiltbrand
    A sturdy and cohesive representative of what tends to be a flimsy and tawdry B-movie genre. It even has a moral: People who live in wax houses shouldn't start fires.
    • 47 Metascore
    • 63 David Hiltbrand
    This remake is about half of a very likable film. But in movies (as in auto races) it isn't how you start, it's how you finish. And Herbie should have kept something in the tank for the late going.
    • 47 Metascore
    • 63 David Hiltbrand
    Thanks to director Roger Kumble's breathless pacing, Just Friends manages to outrun most of its flaws. And its likable leads - the coolly clownish Reynolds and the feline-faced Smart - fill this empty Christmas stocking with glee.
    • 36 Metascore
    • 63 David Hiltbrand
    A monster chiller sequel that is visually spectacular but rather overburdened with story.
    • 34 Metascore
    • 63 David Hiltbrand
    BMH2 is a harmless, genial outing, a comedy that is amusing without ever rising to the level of funny. You sit through the film with a smile on your face, waiting for the laughs that never come.
    • 26 Metascore
    • 63 David Hiltbrand
    An extremely broad and sometimes crude comedy.
    • 19 Metascore
    • 63 David Hiltbrand
    Harlin, with his customary visual brio, has created a film that is deliriously watchable. It's just not all that interesting. In the end, The Covenant is simply a glossier version of TV's "Charmed."
    • 66 Metascore
    • 63 David Hiltbrand
    The sequel is a dizzying succession of pranks, Candid Camera-like sketches, and, that old crowd-pleaser, the boys actively courting their own grievous harm. This is what you get when a generation grows up watching far too many "Roadrunner" cartoons while sitting on the couch eating bowl after bowl of Lucky Charms.
    • 59 Metascore
    • 63 David Hiltbrand
    Like "Man on Fire," the previous collaboration between Washington and Scott, Déjà Vu is stunning but poorly paced, a film that manages to be both captivating and frustrating.
    • 45 Metascore
    • 63 David Hiltbrand
    Succeeds because the action is supercharged in a style that recalls Mel Gibson's apocalyptic classic, "The Road Warrior." The characters are more than cartoonish, and the plot grips the road. But it's Diesel who provides the nitro injection
    • 32 Metascore
    • 63 David Hiltbrand
    A brazen, earsplitting, eye-popping, oddly satisfying action extravaganza, though it veers wildly off-target in its second hour.
    • 53 Metascore
    • 63 David Hiltbrand
    Like "Jumanji," Shorts runs out of momentum before it's half over. That leaves it treading slapstick and killing time until its strained and preposterous big finish.
    • 34 Metascore
    • 63 David Hiltbrand
    Dopey but resourceful yukfest.
    • 58 Metascore
    • 63 David Hiltbrand
    Invention - a mash-up of two Jim Carrey comedies, "Liar Liar" and "Bruce Almighty" - flirts with being a one-gag pony. Shocking sincerity loses its comic impact after a while.
    • 53 Metascore
    • 63 David Hiltbrand
    An engaging if transparent tearjerker of the first water.
    • 36 Metascore
    • 63 David Hiltbrand
    When remaking a popular film, you must remember this: First, do no harm to the original. Arthur accomplishes this, with Russell Brand slurring his way neatly through the title role.
    • 37 Metascore
    • 63 David Hiltbrand
    Judy Moody has some enjoyable ingredients. The cast, for instance, rocks it, especially young Aussie actress Jordana Beatty as the title character, a bottle rocket with unruly red hair.
    • 76 Metascore
    • 63 David Hiltbrand
    Brannaman is a fascinating character, but Buck is so tightly focused that only avid horse lovers will find it appealing.
    • 39 Metascore
    • 63 David Hiltbrand
    There's not much to this movie beyond a slick procession of dark, gleaming violence. But Selene lovers would pay good 3D money to see her fight a parking ticket.
    • 57 Metascore
    • 63 David Hiltbrand
    Part of Me is Perry's visually spectacular testimonial to her own indomitable determination to follow her dreams. The fact that the film lends itself to some really colorful Pinterest pages is merely a bonus.
    • 51 Metascore
    • 63 David Hiltbrand
    It's like a bath of stale testosterone as these Hollywood tough guys from the '80s swap references to their most famous movie lines. Their individual entrances are the primary pleasure of The Expendables 2.
    • 59 Metascore
    • 63 David Hiltbrand
    For sci-fi action fans, it's an instant classic. For everyone else, it's a dark, bloody mess.
    • 53 Metascore
    • 63 David Hiltbrand
    If you were to judge Let Me Explain purely on its performance portion, filmed at Madison Square Garden during Hart's 2012 tour, the film would merit a full extra star. But at 75 minutes, it feels too skimpy to rave over.
    • 47 Metascore
    • 63 David Hiltbrand
    In its long, punishing final act, Red 2 goes beyond its mandate as a lark to pose as a true action caper.
    • 42 Metascore
    • 63 David Hiltbrand
    The Family is a film at once strange and intriguing. It can't seem to settle on a tone. The early eruptions of violence are treated as slapstick when they are most assuredly not. But the climactic showdown, which fairly cries out for a touch of humor, is played as a tense and grim action sequence.
    • 48 Metascore
    • 63 David Hiltbrand
    Israeli director Noam Murro does an excellent job of managing and expanding the franchise established so vividly by Zach Snyder.
    • 62 Metascore
    • 63 David Hiltbrand
    Veronica Mars is a great deal more than a bonus episode, but slightly less than a movie.
    • 33 Metascore
    • 50 David Hiltbrand
    With his beard and '70s clothes, Reynolds looks like Val Kilmer playing Jim Morrison. Before things go precipitously south, he gives an endearing performance that proves he's ready for far more substantial roles than Van Wilder.
    • 58 Metascore
    • 50 David Hiltbrand
    Freeman and Hoskins lend the film a level of artistry it doesn't really deserve. Unleashed has a vivid concept, but savagery and sentimentality make strange costars.
    • 59 Metascore
    • 50 David Hiltbrand
    Heights manages to make the lives of all these beautiful people seem quite tedious. Despite their accomplishments, the only thing they seem suited for is hailing cabs.
    • 53 Metascore
    • 50 David Hiltbrand
    Completely unhinged, a garish and gonzo walk on the wild side.
    • 47 Metascore
    • 50 David Hiltbrand
    In mood and in content is just SO 20th century.
    • 58 Metascore
    • 50 David Hiltbrand
    A formulaic and fuzzy feel-good movie.
    • 41 Metascore
    • 50 David Hiltbrand
    Fortunately for us, they number these Final Destination scarefests. Otherwise, it would be impossible to tell them apart.
    • 73 Metascore
    • 50 David Hiltbrand
    A rambling depiction of a junkie's descent into zombitude.
    • 33 Metascore
    • 50 David Hiltbrand
    A strident and shocking jumble, Shadowboxer suggests what you might come up with if you decided to inject John Huston's dark 1985 film, "Prizzi's Honor," with Oedipal overtones.
    • 58 Metascore
    • 50 David Hiltbrand
    This hotly anticipated film delivers on the premise of its celebrated title. But it offers little more in terms of suspense, originality or enjoyment. Mostly, it lays there on the screen like a big lazy boa.
    • 32 Metascore
    • 50 David Hiltbrand
    Get the soundtrack; wait for the movie to come to CMT.
    • 32 Metascore
    • 50 David Hiltbrand
    This isn't a movie, it's an animatronic theme-park ride - an artificially processed, easily digestible treat for kids.Ho, ho hum.
    • 54 Metascore
    • 50 David Hiltbrand
    All that's missing is the spirit and the anarchic humor of the sitcom created by Mel Brooks and Buck Henry. The result is an overdressed, carefully stitched scarecrow of a comedy.
    • 58 Metascore
    • 50 David Hiltbrand
    The Express eventually reaches its triumph-of-the-human-spirit climax, but it yanks too hard on the heart strings during the long journey there.
    • 52 Metascore
    • 50 David Hiltbrand
    Curiously, despite Johnson's imposing physique, it's the kids who do most of the smashing and grabbing, right up until the climax, when it's all-hands-on-neck.
    • 23 Metascore
    • 50 David Hiltbrand
    The story and the humor get progressively skimpier than an Ipanema bikini.
    • 41 Metascore
    • 50 David Hiltbrand
    The whole thing is rather insipid. But Thomas makes it smoother and more palatable than it deserves to be.
    • 31 Metascore
    • 50 David Hiltbrand
    You want to cut Cop Out some slack because it's just so darn eager to please. So let's grant that it will make a reliably fun companion when it's on cable 10 times a week.
    • 74 Metascore
    • 50 David Hiltbrand
    Gyllenhaal is particularly unsuited to this role, his saucer eyes flashing from calm to crazed.
    • 57 Metascore
    • 50 David Hiltbrand
    Hemsworth looks a good deal more like NFL receiver Jeremy Shockey than he does the immortal Avenger.
    • 52 Metascore
    • 50 David Hiltbrand
    This is a straight-up gangsta film, yo. Spare us the phony redemption.
    • 22 Metascore
    • 50 David Hiltbrand
    It would be inaccurate to say there are plots in New Year's Eve. There are a number of setups, and these get shuffled through faster than a card dealer in Atlantic City.
    • 62 Metascore
    • 50 David Hiltbrand
    The Woman in Black has lovely period atmosphere. Unfortunately, it doesn't have much else besides atmosphere.
    • 74 Metascore
    • 50 David Hiltbrand
    It's not so much a miscalculation of his audience by Burton as it is a disregard. What lingers after Frankenweenie, far more than its stunning technique, is a sad suggestion of solipsism.
    • 48 Metascore
    • 50 David Hiltbrand
    Sly can still fill a too-tight polo shirt at 66 - in the same way Jack LaLanne did in his later years. But no amount of movie magic can make him pass for a lethal and nimble juggernaut.
    • 45 Metascore
    • 50 David Hiltbrand
    Yep, it's all fun and games until someone gets brutalized repeatedly. Before you can avert your eyes, it's Katie, bar the door and break out the chain saws.
    • 52 Metascore
    • 50 David Hiltbrand
    The main flaw of White House Down is that it overstays its welcome, thanks in large part to a silly climax that seems to unfold in three laborious acts. At least, Tatum keeps his shirt off.
    • 58 Metascore
    • 50 David Hiltbrand
    Let's face it: Kids aren't a very demanding audience. If there's color, movement, and a high quotient of silliness, they're happy.
    • 33 Metascore
    • 50 David Hiltbrand
    Though imaginatively directed by Harald Zwart, Mortal Instruments, which is adapted from Cassandra Clare's YA novels, is marred by significant flaws.
    • 49 Metascore
    • 50 David Hiltbrand
    Purely as an action film, Riddick is passable, if grueling. The problem is tonal.
    • 35 Metascore
    • 50 David Hiltbrand
    Even though it's all preliminaries, no main event, Grudge Match is harmless enough as entertainment. Just not as harmless as its poor protagonists.
    • 29 Metascore
    • 50 David Hiltbrand
    An odd mix of stiff and sumptuous.
    • 30 Metascore
    • 50 David Hiltbrand
    With no clear idea how to end the movie, which has come to resemble an excessive episode of Buffy, the Vampire Slayer, writer/director Stuart Beattie (G.I. Joe: The Rise of Cobra) uses an old but still effective Hollywood trick: He blows up everything on the screen to smithereens.
    • 42 Metascore
    • 50 David Hiltbrand
    This is the type of movie best enjoyed as a late-night indulgence on cable. Really late at night, when your eyes are still partially open, but your brain has called it quits.
    • 47 Metascore
    • 50 David Hiltbrand
    Although it is based on a true story, the dramatization doesn't make much sense psychologically.
    • 62 Metascore
    • 50 David Hiltbrand
    The constant flipping between stagecraft and reality creates a dissonant static that prevents any satisfying connection with the film.
    • 59 Metascore
    • 50 David Hiltbrand
    Life of Crime is like an errant golf putt that appears headed for the hole, but just keeps rolling and rolling, all the way off the green. In other words, just missed . . . by a mile.
    • 41 Metascore
    • 38 David Hiltbrand
    There is a funny movie to be made from the outrageous egos and excesses of rap music. Death of a Dynasty is not that movie.
    • 35 Metascore
    • 38 David Hiltbrand
    If Stealth were a recruitment film for aircraft-carrier duty, one would be tempted to say, "Mission accomplished." As a feature film, it's a washout.
    • 46 Metascore
    • 38 David Hiltbrand
    OK, they squeezed one more lap out of this franchise. It's been a fun ride, but it's time to shut things down. If you get my drift.
    • 36 Metascore
    • 38 David Hiltbrand
    So achingly empty, it's nearly existential.
    • 51 Metascore
    • 38 David Hiltbrand
    At one point, Statham chases down a sports car while pedaling madly on a kids' bike. Pathétique!
    • 30 Metascore
    • 38 David Hiltbrand
    The acting is better than the script deserves and Lexi Alexander's cut-to-the-hearse direction lends the film considerable kick.
    • 30 Metascore
    • 38 David Hiltbrand
    Faced with the script's weak humor and feeble stabs at irony, Schwartzman and Stiller turn it way up, setting the dial at "hammy."
    • 45 Metascore
    • 38 David Hiltbrand
    Surrogates, which borrows tone and content freely from "I, Robot," is all windup and no pitch.
    • 53 Metascore
    • 38 David Hiltbrand
    The aquatic and surf scenes are spectacular. The story, a clichéed climb to inspiration. Soul Surfer is more parable than plot.
    • 30 Metascore
    • 38 David Hiltbrand
    The film would be a moth-eaten mess without the wisecracking animals. Not that it's funny with them.
    • 40 Metascore
    • 38 David Hiltbrand
    The problem is that these stoic warriors infect Act of Valor with more wooden acting than you'd see at a ventriloquism school.
    • 37 Metascore
    • 38 David Hiltbrand
    Rarely has a film so equally balanced macho and nacho, but Wrath does leave us with a few valuable lessons: a.) fratricide is a nasty business, best left to the Greeks and b) fighting fire with fire may sound good, but it turns out to be a really stupid idea.
    • 50 Metascore
    • 38 David Hiltbrand
    Hit & Run is a pleasant enough diversion - but more of the PPV persuasion.
    • 49 Metascore
    • 38 David Hiltbrand
    The sheer brutality of Oldboy is stunning, especially a deeply disturbing scene in which Brolin tortures Samuel L. Jackson. But this is an unrelievedly grim and hermetic experience throughout, the cinematic equivalent of blunt trauma.
    • 40 Metascore
    • 38 David Hiltbrand
    It's highly doubtful that you'll grasp even a little of The Truth About Emanuel after seeing this film. It's not so much a thriller as it is a ride on a runaway crazy train.
    • 41 Metascore
    • 38 David Hiltbrand
    Ride Along is a film so casual in its conception and execution, it should be titled Drive Thru.
    • 28 Metascore
    • 38 David Hiltbrand
    There isn't an original frame or line of dialogue in Rage. It's strictly paint by numbers. Or in this case, plasma.
    • 48 Metascore
    • 38 David Hiltbrand
    The animation in Planes: Fire & Rescue is considerably better, the landscapes grander, and the 3-D flight and firefighting scenes more exciting.
    • 66 Metascore
    • 38 David Hiltbrand
    Mostly, Dinosaur 13 is far too long, slogging along without momentum or suspense. These events would have been better handled in a single installment of Dateline.