For 53 reviews, this critic has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 8.4 points lower than other critics. (0-100 point scale)

Hank Sartin's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Hero
Lowest review score: 0 National Lampoon's Gold Diggers
Score distribution:
  1. Positive: 18 out of 53
  2. Negative: 10 out of 53
53 movie reviews
    • 85 Metascore
    • 100 Hank Sartin
    The result is both thrilling and thoughtful.
    • 65 Metascore
    • 80 Hank Sartin
    This film by Julio Medem has dreamlike visuals, lush sensuality, a gorgeous cast, and a plot built on elaborate, self-conscious coincidences.
    • 75 Metascore
    • 80 Hank Sartin
    Kidd has a great ear for dialogue, and he throws in a few unexpected twists. But the real fun is watching an established pro and a newcomer run with the script.
    • 59 Metascore
    • 80 Hank Sartin
    Borrowing heavily from "Close Encounters of the Third Kind," Shyamalan tries to lighten his trademark gloomy tone -- and almost kills the suspense he's working so hard to achieve.
    • 59 Metascore
    • 80 Hank Sartin
    Fascinating group portrait of soul and R & B legends who are still touring 40 years after their original fame, enduring even after they've been relegated to the nostalgia circuit.
    • 68 Metascore
    • 80 Hank Sartin
    The full-throttle approach of director Doug Liman (Swingers, Go) is impressive.
    • 63 Metascore
    • 80 Hank Sartin
    The result is that virtual oxymoron, an intelligent family film.
    • 50 Metascore
    • 70 Hank Sartin
    Kids used to watching him on TV might find it all perfectly normal, but for adults it's almost an acid trip.
    • 78 Metascore
    • 70 Hank Sartin
    At times Hirsch seems afraid to trust the material's inherent drama and becomes unnecessarily manipulative, staging performances in striking landscapes and playing the footage in slow motion.
    • 64 Metascore
    • 70 Hank Sartin
    It's a bad sign when you can't name or differentiate any of the Lost Boys.
    • 85 Metascore
    • 70 Hank Sartin
    The concert footage is generally quite good, and Joplin is astonishing, but with so many hours of footage you'd think there would be more unexpected moments.
    • 74 Metascore
    • 70 Hank Sartin
    Everyone in the cast conveys that messy mix of teen self-consciousness and bravado, but Josh Peck is particularly nuanced as the bully.
    • 63 Metascore
    • 70 Hank Sartin
    This is both melodramatic and overly tidy in its plotting, but its odd personal relationships are utterly believable.
    • 66 Metascore
    • 70 Hank Sartin
    Uekrongtham handles the material with reasonable restraint, and you can't help but cheer on the hero.
    • 64 Metascore
    • 70 Hank Sartin
    Director Frank Nissen strikes a nice balance between slapstick and sentiment, and I'll admit to getting a bit choked up at the appropriate moments.
    • 62 Metascore
    • 70 Hank Sartin
    The women, many in their 70s and 80s, are still tough and proud--and nursing grudges that go back decades, something Leitman plays up by crosscutting between rivals' accounts.
    • 68 Metascore
    • 70 Hank Sartin
    Though the story drags for the first hour, this becomes a solid character study once the principals arrive at their hiding place.
    • 64 Metascore
    • 70 Hank Sartin
    The intense focus on this trio makes for good portraiture, but it left me hungry for more about the social context that shaped them.
    • 51 Metascore
    • 60 Hank Sartin
    Entertaining but forgettable action flick.
    • 60 Metascore
    • 60 Hank Sartin
    Desperately wants to be whimsical and charming. But whimsy isn't easy to carry off, and director Alan Taylor, who has directed mostly television dramas, has a heavy hand -- scenes meant to be comical are destroyed by leaden pacing and a puzzling mix of tones.
    • 46 Metascore
    • 60 Hank Sartin
    Be forewarned: this comedy bears only the faintest resemblance to the classic book and film of the same name.
    • 55 Metascore
    • 60 Hank Sartin
    All in all it's pretty lurid, but it delivers what it promises.
    • 59 Metascore
    • 60 Hank Sartin
    Never quite settles on a tone, veering from wacky comedy to earnest sports drama to romantic farce. The results are predictably muddled, if mostly harmless.
    • 62 Metascore
    • 60 Hank Sartin
    Episodic but entertaining fantasy.
    • 39 Metascore
    • 60 Hank Sartin
    Crudup takes a riskier path: his architect isn't very nice and is possibly irredeemable. His performance is subtle, complicated, and fresh, and it's a shame the movie doesn't live up to it.
    • 61 Metascore
    • 60 Hank Sartin
    The action is exciting, but the rapid-fire narration jumps around too quickly, making it difficult to keep straight the personalities meant to hold the film together.
    • 60 Metascore
    • 60 Hank Sartin
    Jones's script leans too heavily on the familiar device of blurring illusion and reality, but his view of the urban landscape is beautiful and distinctive.
    • 56 Metascore
    • 50 Hank Sartin
    We're never allowed to feel much of anything for these characters, and as a result their agonizing over their lost past and uncertain future seems like whining.
    • 49 Metascore
    • 50 Hank Sartin
    The film never quite achieves the sharp edge satire demands, largely because director Andrew Niccol, who was so good at managing tone in "Gattaca," can't decide whether to go with nasty or hilariously farcical.
    • 56 Metascore
    • 50 Hank Sartin
    Has an affable charm, but the script is paint by numbers.
    • 60 Metascore
    • 50 Hank Sartin
    Cohen and a crew of script doctors have thrown in some of the oldest cliches in the book.
    • 56 Metascore
    • 50 Hank Sartin
    There's an uplifting message about heroism, dispensed in dialogue so familiar you can practically lip=synch it.
    • 50 Metascore
    • 50 Hank Sartin
    In this eerily tranquil psychological thriller, Nicole Kidman's placid countenance is like a Rorschach: you'll project onto it what you want to see.
    • 70 Metascore
    • 50 Hank Sartin
    Argentinean writer-director Daniel Burman uses a shaky handheld camera and voice-over narration to take us inside Ariel's head, which gets a bit exhausting, even in the more emotionally satisfying second half.
    • 49 Metascore
    • 50 Hank Sartin
    The audience is subjected to a series of emotional contortions, encouraged to experience them voyeuristically, and then scolded for doing so. The bathetic music Kim favors is profoundly at odds with his chilly attitude toward the characters.
    • 53 Metascore
    • 50 Hank Sartin
    Reasonably entertaining but predictable.
    • 45 Metascore
    • 50 Hank Sartin
    This harmless comedy by Steven Mallorca comments wryly on America's weird hybrid culture, but the characters are too broadly drawn and the story drags in the last third, just when it should be hitting comic warp speed.
    • 36 Metascore
    • 50 Hank Sartin
    Director Zak Tucker is a bit too fond of jump cuts as signifiers of edginess. Still, when the material doesn't get in the way he's pretty good at getting across the emotional content.
    • 53 Metascore
    • 40 Hank Sartin
    There are a few witty touches (POV shots given to the urn holding the mother's ashes) but the mood swings erratically and ineffectively from deadpan drollery to heartfelt romance.
    • 34 Metascore
    • 40 Hank Sartin
    All the male pulchritude can't make up for a muddled script.
    • 27 Metascore
    • 40 Hank Sartin
    I expected this to be much funnier: Latifah coasts on her charm and Fallon seems incapable of playing an actual character.
    • 53 Metascore
    • 40 Hank Sartin
    This Hamlet elevates plot to a height that retains the play's atmosphere but squanders its thematic richness in a welter of "Mommy, how could you?" melodrama.
    • 32 Metascore
    • 40 Hank Sartin
    If, as some critics have claimed, "The Cabin in the Woods" made the horror genre obsolete, someone forgot to tell screenwriter Oren Peli.
    • 43 Metascore
    • 30 Hank Sartin
    This bleak little drama started as a play, and I'd bet that even onstage it felt contrived.
    • 32 Metascore
    • 30 Hank Sartin
    As hard as the film tries to pander, the kids at the preview screening seemed a bit disengaged.
    • 46 Metascore
    • 30 Hank Sartin
    The result is your basic Bruckheimer action spectacle plus lots of leather, shaggy haircuts, and Celtic tattoos.
    • 44 Metascore
    • 30 Hank Sartin
    Every eerily tranquil shot, weirdly elliptical scene, and peculiar line reading contributes to a mood of detachment rather than creeping dread.
    • 28 Metascore
    • 30 Hank Sartin
    Wacky mix-ups and a stunningly unfunny climax.
    • 35 Metascore
    • 20 Hank Sartin
    "Friday" had moments of stoned charm and telling neighborhood detail; this second sequel never gets beyond the angry, cruel, and misogynist.
    • 24 Metascore
    • 20 Hank Sartin
    Every joke is stretched to the breaking point, and no one seems to be having any fun.
    • 17 Metascore
    • 20 Hank Sartin
    A talented director might have made Bullock seem like a comic genius, but Phil Traill has no control over tone, leaving the audience unsure whether to laugh or cry.
    • 17 Metascore
    • 10 Hank Sartin
    Even the action sequences are poorly executed, with lots of choppy editing meant to conceal the fakery.
    • 6 Metascore
    • 0 Hank Sartin
    Nothing's quite so painful as failed comedy, and this atrocity is equivalent to a compound fracture.

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