Hazel-Dawn Dumpert

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For 175 reviews, this critic has graded:
  • 40% higher than the average critic
  • 3% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 6.5 points lower than other critics. (0-100 point scale)

Hazel-Dawn Dumpert's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Finding Nemo
Lowest review score: 0 Beautiful Creatures
Score distribution:
  1. Positive: 68 out of 175
  2. Negative: 29 out of 175
175 movie reviews
    • 33 Metascore
    • 60 Hazel-Dawn Dumpert
    It's Boyar who’s the find here, though, a gently magnetic presence who's all the more impressive for being thoroughly riveting despite spending most of the movie face-down on a counter.
    • 59 Metascore
    • 60 Hazel-Dawn Dumpert
    It's the spark and surprise of good sketch comedy that makes this film really work--the laugh-out-loud moments are worth the wait.
    • 64 Metascore
    • 60 Hazel-Dawn Dumpert
    If there's anyone to credit for The Butterfly's eventual triumph over the inherent fatuousness of the material, it's the great Serrault and his tiny leading lady, who matches her elder nearly line for line and look for look.
    • 60 Metascore
    • 60 Hazel-Dawn Dumpert
    The problem with Rush Hour is that the film isn’t a partnership, it’s a Chris Tucker movie with Chan as straight man.
    • 67 Metascore
    • 60 Hazel-Dawn Dumpert
    Me Without You is at its truest and most affecting when it steps back from the gig gling, bitching and nail biting to reveal how the compulsion to control and appropriate can be born of simple love and admiration.
    • 42 Metascore
    • 60 Hazel-Dawn Dumpert
    Director Stephen Hopkins (Nightmare on Elm Street 5: The Dream Child) and writer Akiva Goldsman (Batman and Robin) layer a ridiculous time-travel tale with the story of a dysfunctional family Robinson, impressive special effects, and IKEA does Star Wars production design.
    • 52 Metascore
    • 60 Hazel-Dawn Dumpert
    The movie is not without charm or humor, but it leaves little for Lane to do besides chuckle at setbacks as if they were naughty children.
    • 58 Metascore
    • 60 Hazel-Dawn Dumpert
    Does have its charms.
    • 61 Metascore
    • 60 Hazel-Dawn Dumpert
    Aside from isolated flares of unchecked emotion ...Bouquet's Lucie is too far removed from our ken of romance and overriding purpose, or from Berri's for that matter, to be embraced entirely.
    • 55 Metascore
    • 60 Hazel-Dawn Dumpert
    A wonderful movie. For every misstep there are the sublime expressions of agony and ecstasy of which Herzog is a master.
    • 64 Metascore
    • 60 Hazel-Dawn Dumpert
    While the film strives to prove its cool, it's also built on the insufferably antique idea that some flattery and a good fuck are all any woman needs.
    • 41 Metascore
    • 60 Hazel-Dawn Dumpert
    Strictly for budding young ladies, though it does offer those who've already bloomed the grown-up pleasures of Firth, a great actor who graciously invites you to join him in the slow-burn romantic corner into which he's rapidly painting himself.
    • 52 Metascore
    • 60 Hazel-Dawn Dumpert
    The director is Garry Marshall, but The Princess Diaries is no where near as nauseating a fairy tale as Marshall's "Pretty Woman."
    • 72 Metascore
    • 60 Hazel-Dawn Dumpert
    Nettelbeck's storytelling grace, however, only highlights her clumsy script, which drags the viewer through an all-too-predictable menu of catharsis and romance that can overpower the film’s subtler, more complex flavors.
    • 59 Metascore
    • 50 Hazel-Dawn Dumpert
    The film is nothing if not benign, but its merits are moot for those above 7 or so.
    • 65 Metascore
    • 50 Hazel-Dawn Dumpert
    This bleak debut feature from writer-directors Alex and Andrew Smith would be all but impossible to sit through if it weren’t for Ryan Gosling and Clea Duvall.
    • 75 Metascore
    • 50 Hazel-Dawn Dumpert
    The film is exhaustive -- and ultimately exhausting.
    • 63 Metascore
    • 50 Hazel-Dawn Dumpert
    In Fitzgerald's hands, freestyling is an all-good means of personal expression and communal identification. The dark side of rap he treats only superficially, shortchanging a well-rounded discussion in favor of wholehearted celebration.
    • 58 Metascore
    • 50 Hazel-Dawn Dumpert
    Ultimately, however, a too-earnest script that pins the future of this community on a school-district singing contest, undercuts the film's natural performances and its sedate, contemplative pacing.
    • 44 Metascore
    • 50 Hazel-Dawn Dumpert
    The best thing about Committed, though, is Krueger, a filmmaker who's not only willing to lead us into the well-traveled terrain of romantic comedy, but able to show us something new there.
    • 45 Metascore
    • 50 Hazel-Dawn Dumpert
    If Novocaine fulfilled the promise of its premise and cast, it could be great. As it is, the film is sabotaged by writer-director David Atkins' failure to set a consistent tone and follow through.
    • 57 Metascore
    • 50 Hazel-Dawn Dumpert
    Yu’s filmography includes dozens of pictures between 1965 and 1994, but with its nonstop flurry of fighting, ersatz bloodletting and incidental hilarity, this remains his signature work.
    • 46 Metascore
    • 50 Hazel-Dawn Dumpert
    German filmmaker Stefan Ruzowitzky sticks to the formula that made his 2000 thriller “Anatomie” a German hit, offering up a who’s who of young German stars and plunging them into hot-and-cold color schemes, freewheeling camera work and diabolical master-race conspiracies. If Ruzowitzky were as good a storyteller as he is a stylist, he’d have something.
    • 47 Metascore
    • 50 Hazel-Dawn Dumpert
    (Ferrer's) performance as the sensitive private dick borders on beatific as he stumbles about a nighttime Hollywood Boulevard waxing lyrical about "love, sex and betrayal."
    • 65 Metascore
    • 50 Hazel-Dawn Dumpert
    For a film hinged on one of the more passionate art forms, it's all a little bloodless.
    • 57 Metascore
    • 50 Hazel-Dawn Dumpert
    Despite some grace- ful performances, especially from Ruehl and Kazan, the result is a tepid repast at best.
    • 64 Metascore
    • 50 Hazel-Dawn Dumpert
    Where Káel stumbles is in having his stars lip-synch, sometimes poorly, to a recording. It's a devil's bargain that allows for more natural staging, but that fails to convey that an opera's power lies less in cinematic shadings of character than in raw emotions refined by the spectacular art of a rigorously trained human voice.
    • 52 Metascore
    • 50 Hazel-Dawn Dumpert
    Rather exciting, rendered in a bright sunset palette and a mixture of expressive, boldly drawn traditional animation and fluid computer-generated imagery.
    • 49 Metascore
    • 50 Hazel-Dawn Dumpert
    Even though he refuses to excise about 15 to 20 minutes of unnecessary material, Pappas is nonetheless a steady editor who, less intrepid than dogged, pieces together a sustainably intriguing, suitably distressing exposé.
    • 40 Metascore
    • 50 Hazel-Dawn Dumpert
    Like so many movies that depend on effects for effect, plot comes in a poor second to spectacle. That leaves the Fraser, funny and sexy as hell, left with little chance to prove it.
    • tbd Metascore
    • 50 Hazel-Dawn Dumpert
    Fox does have a sharp sense of the absurd that comes out in silly subplots.
    • tbd Metascore
    • 50 Hazel-Dawn Dumpert
    The dialogue is blunter, and harder for his amateur cast to pull off, while Lewis' stridency, however justified, ultimately jars against the film's tender, all-is-love fantasia.
    • 40 Metascore
    • 50 Hazel-Dawn Dumpert
    It’s a testament to Chow's star power that, even with an accent more than casually reminiscent of Elmer Fudd's, he comes off charming, handsome and cool in a movie as ridiculous as Bulletproof Monk.
    • 62 Metascore
    • 50 Hazel-Dawn Dumpert
    By the time Princesa finally slides into halfhearted melodrama in its last quarter, we're only too happy to follow Fernanda back to the rim and a little excitement.
    • 61 Metascore
    • 50 Hazel-Dawn Dumpert
    The best parts of the film...are often distractingly slick enough to cover the film's overriding lack of soul.
    • 54 Metascore
    • 50 Hazel-Dawn Dumpert
    Attack of the Clones' high-definition surfaces are certainly impressive, but they offer no lifelight, nothing to put your arms around.
    • 53 Metascore
    • 50 Hazel-Dawn Dumpert
    The photography is clear and colorful, the acting just fine, and the pace steady. However, the wan script by Geert Heetebrij imbues the brothers with so little personality that their respective transformations -- pack no emotional punch.
    • 49 Metascore
    • 50 Hazel-Dawn Dumpert
    While The Business of Fancydancing is a thoughtful and complex work of sound and vision, it doesn't seem quite right to call it a film, for a couple of reasons. First of all, it is plainly, if crisply, shot on video, with a bright, shiny surface that fairly screams low-rent. Second, the whole business is strangely non-cinematic.
    • 49 Metascore
    • 50 Hazel-Dawn Dumpert
    The film isn't really about much and so feels patchy and forced, with elements more calculated than inspired, more urgent than exciting.
    • 69 Metascore
    • 50 Hazel-Dawn Dumpert
    The film is never less than lovely to gaze upon, shot in saturated colors, richly appointed in period trappings and peopled only by the very beautiful. But it is also, by its end, too silly to take seriously.
    • 45 Metascore
    • 50 Hazel-Dawn Dumpert
    The Amateurs is nothing if not easy to watch. Yet, as a writer, Traeger is consternatingly adolescent and glib.
    • 47 Metascore
    • 50 Hazel-Dawn Dumpert
    Narrow definitions of femininity limit the comedy and the romance.
    • 67 Metascore
    • 50 Hazel-Dawn Dumpert
    Stettner's vision of both women lacks fullness, relying on stereotypes of feminine strength and vulnerability.
    • 47 Metascore
    • 40 Hazel-Dawn Dumpert
    Nothing, in fact, really fits together, most notably the partnership of Ford and Hartnett: Looking weathered yet professional, Ford carries what he can, but pretty and sullen Hartnett barely comes to life, leaving his partner stranded, and straining.
    • 29 Metascore
    • 40 Hazel-Dawn Dumpert
    A blandly competent dramatization of the famed Texas lawmen's post–Civil War history starring the blandly handsome tube stars
    • 40 Metascore
    • 40 Hazel-Dawn Dumpert
    The flashes of warm, human talent that pulse periodically from the ensemble -- Byrne and Foxx, particularly -- only make their presence in this terrifically bad movie all the more baffling.
    • 36 Metascore
    • 40 Hazel-Dawn Dumpert
    If there's any reason to watch this otherwise inept romance, it's to witness the late Nell Carter nail a Louis Jordan tune, and to see master comic Jonathan Winters downplay his more manic tendencies and effortlessly spin gold from straw.
    • 42 Metascore
    • 40 Hazel-Dawn Dumpert
    In lieu of developing a plot, the brothers opt to cram their cache of forced quirks and hit-or-miss sketches into a framework of predictabilities.
    • 40 Metascore
    • 40 Hazel-Dawn Dumpert
    All promise and no payoff.
    • 51 Metascore
    • 40 Hazel-Dawn Dumpert
    While Gardos knows what to ask -- and though Kinski and Johansson both easily command attention -- the filmmaker lacks the storytelling sophistication to answer with anything but prettily rendered cliches.
    • 52 Metascore
    • 40 Hazel-Dawn Dumpert
    Voice-overs and commentaries are piled on top of contrived intimate moments until, despite some easygoing performances, the movie -- the actual movie -- is a blur of undercooked motivations and halfhearted improv.
    • 38 Metascore
    • 40 Hazel-Dawn Dumpert
    Assante, restrained and thoughtful, reveals Vinnie's midlife bewilderment as much as his bred-in machismo. His performance is too delicate, though, to stand up to the rigidly formulaic schemes
    • 70 Metascore
    • 40 Hazel-Dawn Dumpert
    The lack of cohesion and conviction is disconcerting, and it allows the movie to veer dangerously close to exploitation. Its subjects -- and its viewers -- deserve more.
    • 59 Metascore
    • 40 Hazel-Dawn Dumpert
    The rather sad performances boast more clams than a Pismo beach party.
    • 34 Metascore
    • 40 Hazel-Dawn Dumpert
    This is high school fantasy straight outta Compton. As such, it has a certain compelling enthusiasm.
    • 25 Metascore
    • 40 Hazel-Dawn Dumpert
    There's nothing like a feature-length video game to make you feel you're being played.
    • 49 Metascore
    • 40 Hazel-Dawn Dumpert
    Thoroughly mediocre.
    • 33 Metascore
    • 40 Hazel-Dawn Dumpert
    There's little room for Kuki to evolve into anything approaching an actual character, and it would take an actress far greater than Basinger, who gives it her all, to make something of the role.
    • 48 Metascore
    • 40 Hazel-Dawn Dumpert
    You can't see the movie for the footage, so thick is it with digital tricks and furious action.
    • 43 Metascore
    • 40 Hazel-Dawn Dumpert
    John Turtletaub directs Gerald DiPego's silly script, pumping it full of sudden shocks and cheap dramatics where there should be steady tension and character development.
    • 54 Metascore
    • 40 Hazel-Dawn Dumpert
    As usual, the final fight-scene extravaganza is outstanding, but it’s hardly worth the dreary hour and a half that precedes it.
    • 48 Metascore
    • 40 Hazel-Dawn Dumpert
    The first half-hour of The Core is hip enough to its own moribund formula that for a brief, shining moment, there's hope the film will actually be a goofy gas instead of the effects-bound lump it becomes.
    • 48 Metascore
    • 40 Hazel-Dawn Dumpert
    So many stars means so little room for character and plot.
    • 22 Metascore
    • 40 Hazel-Dawn Dumpert
    Might make a fun Lifetime TV movie -- if it weren't quite so morose.
    • 42 Metascore
    • 40 Hazel-Dawn Dumpert
    Strangely drab.
    • 47 Metascore
    • 40 Hazel-Dawn Dumpert
    Paymer is the key to this mild-mannered comedy built on easy setups and borscht-belt one-liners.
    • 47 Metascore
    • 40 Hazel-Dawn Dumpert
    Never really gets across the essence of who the band members are and why they inspire such fidelity.
    • 52 Metascore
    • 40 Hazel-Dawn Dumpert
    The young filmmaker clearly needs to experience a bit more of la vraie vie before his own observations can take in more than the clumsy romantic feints and parries of early adulthood.
    • 45 Metascore
    • 40 Hazel-Dawn Dumpert
    It's a case of persona overwhelming presence, and the butterscotch smoothness that was such an asset opposite George Clooney's glittering cool in "Out of Sight" is all but lost in the sheen of this high-gloss production.
    • 27 Metascore
    • 40 Hazel-Dawn Dumpert
    Transcends its video-box-shelf-filler pedigree only when it's actually indulging in guy stuff, mostly of the frat-boy, beer-commercial variety.
    • 61 Metascore
    • 40 Hazel-Dawn Dumpert
    Jabberwocky is not a Python film, a fact most obvious in its marked lack of humor.
    • 19 Metascore
    • 40 Hazel-Dawn Dumpert
    Bad in such a bizarre way that it's almost worth seeing, if only to witness the crazy confluence of purpose and taste.
    • 52 Metascore
    • 40 Hazel-Dawn Dumpert
    It's perhaps Greendale's greatest flaw that, rather than stirring the blood, its heartfelt call to arms comes off as a sentimental, even trite, notion from an increasingly distant past.
    • 25 Metascore
    • 40 Hazel-Dawn Dumpert
    There's little to recommend Knockout.
    • 45 Metascore
    • 40 Hazel-Dawn Dumpert
    How much can one girl grapple with over the course of an hour and a half?
    • 44 Metascore
    • 40 Hazel-Dawn Dumpert
    By the time we get to the big finish, it feels as if we've merely been poked repeatedly in the ribs with a really good-looking stick.
    • 14 Metascore
    • 40 Hazel-Dawn Dumpert
    Glitter is, if nothing else, comfortable with what it is, namely earnestly made, wholehearted schlock.
    • 39 Metascore
    • 40 Hazel-Dawn Dumpert
    Sarkissian's script is both overwrought and undercooked, crammed with floridly senseless speeches.

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