For 171 reviews, this critic has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

John Hartl's Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 10 Drop Dead Gorgeous
Score distribution:
  1. Positive: 87 out of 171
  2. Negative: 25 out of 171
171 movie reviews
    • 65 Metascore
    • 70 John Hartl
    Before it finally twists itself into a pretzel in the third act, this paranoid thriller creates a scary mood and allows its leading actors to go all the way with it.
    • 71 Metascore
    • 70 John Hartl
    Gorgeous and troubling.
    • 61 Metascore
    • 70 John Hartl
    Warm and fuzzy and amusing enough to be slightly more than an innocuous baby-sitter for the kids.
    • 61 Metascore
    • 70 John Hartl
    A very romantic picture.
    • 78 Metascore
    • 70 John Hartl
    (Morris) sees Leuchter's story as more personal, more about one individual's self-absorption and folly, than an indictment of a particular system.
    • 80 Metascore
    • 70 John Hartl
    A sweet, funny exercise in nostalgia, though it's also self-congratulatory and awfully calculating.
    • Film.com
    • 56 Metascore
    • 70 John Hartl
    The darkly comic tone is often just right, and the casting occasionally pays off.
    • 73 Metascore
    • 70 John Hartl
    This might have been a very good movie if it had lost about one of its three hours.
    • Film.com
    • 73 Metascore
    • 70 John Hartl
    It's not a profound film, but it is heartfelt, and Burns has done his best to keep it clear and emotionally direct.
    • Film.com
    • 71 Metascore
    • 70 John Hartl
    Its honesty and insights are refreshing.
    • Film.com
    • 80 Metascore
    • 70 John Hartl
    There's an almost natty precision about this picture that's so rare these days in American movies that it provides satisfaction in itself.
    • Film.com
    • 65 Metascore
    • 70 John Hartl
    A tasty/tacky treat.
    • 67 Metascore
    • 70 John Hartl
    Even as you question the central premise, Brooks makes you want to buy into it.
    • Film.com
    • 82 Metascore
    • 70 John Hartl
    Closer to "M*A*S*H" than "Dr. Strangelove," which in itself wouldn't be a bad thing. But for all its engaging qualities, Three Kings doesn't seem to know what kind of beast it is.
    • 74 Metascore
    • 70 John Hartl
    Technically, Titanic is a marvel.
    • Film.com
    • 71 Metascore
    • 70 John Hartl
    Best of all is a Halloween party where the Falls are complimented on their "costume," then outed.
    • 62 Metascore
    • 70 John Hartl
    Norton's performance, which is every bit as varied as his Oscar-nominated work in Primal Fear, once more demonstrates that he's one of the most remarkable chameleons working in film.
    • Film.com
    • 59 Metascore
    • 70 John Hartl
    The story moves beyond the limitations of its setting, transforming itself into an affecting parable about the lengths to which parents will go to protect their children from trauma, cruelty and knowledge of evil.
    • Film.com
    • 68 Metascore
    • 70 John Hartl
    The graphic battles may grow repetitious toward the end, the final scenes are almost sadistically drawn out, and the script often lacks humor. But this movie moves.
    • Film.com
    • 63 Metascore
    • 70 John Hartl
    So campy that it almost plays like a sendup of the series. It is to Alien what "The Bride of Frankenstein" was to other 1930s Frankenstein movies, and it even shares some of the same themes.
    • Film.com
    • 61 Metascore
    • 70 John Hartl
    One
    A movie that keeps you wondering about its characters' true feelings and motives long after you've left the theater.
    • 70 Metascore
    • 70 John Hartl
    For all the cynicism on the soundtrack and the occasional lapses in tone, this is a remarkably generous comedy.
    • Film.com
    • 70 Metascore
    • 63 John Hartl
    It has its value as a vigorous variation on a theme.
    • 34 Metascore
    • 63 John Hartl
    The script’s first half is vigorous enough.... But the movie needs the audacity of a “Trainspotting” to lift it above the norm.
    • 54 Metascore
    • 63 John Hartl
    The results are uneven. Almost any scene with Hawkes is alive and satisfyingly showy. You feel his absence when he isn’t there, though Joanna Cassidy, Crystal Reed and Robert Forster all have their moments.
    • tbd Metascore
    • 63 John Hartl
    Gaup deftly keeps track of the major betrayals without making them seem too obvious.
    • 53 Metascore
    • 63 John Hartl
    Unfortunately, it’s so ambitious that it’s constantly straining to find a focus.
    • 64 Metascore
    • 60 John Hartl
    It's a terrific showcase for Richard Gere, Shelley Long, Farrah Fawcett and a number of other actors who almost seemed to have been written off.
    • 73 Metascore
    • 60 John Hartl
    Soderbergh demands a lot from his star here, and she delivers.
    • 59 Metascore
    • 60 John Hartl
    For all its flaws, Fantasia 2000 is certainly something to see.

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