For 155 reviews, this critic has graded:
  • 36% higher than the average critic
  • 5% same as the average critic
  • 59% lower than the average critic
On average, this critic grades 0.6 points higher than other critics. (0-100 point scale)

John Hartl's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 10 Digimon: Digital Monsters
Score distribution:
  1. Positive: 74 out of 155
  2. Negative: 24 out of 155
155 movie reviews
    • 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.
    • 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
    • 71 Metascore
    • 70 John Hartl
    Best of all is a Halloween party where the Falls are complimented on their "costume," then outed.
    • 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.
    • 56 Metascore
    • 70 John Hartl
    The darkly comic tone is often just right, and the casting occasionally pays off.
    • 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
    • 71 Metascore
    • 70 John Hartl
    Its honesty and insights are refreshing.
    • 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.
    • 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
    • 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
    • 74 Metascore
    • 70 John Hartl
    Technically, Titanic is a marvel.
    • Film.com
    • 67 Metascore
    • 70 John Hartl
    Even as you question the central premise, Brooks makes you want to buy into it.
    • Film.com
    • 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
    • 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.
    • 62 Metascore
    • 60 John Hartl
    Goes out of its way to suppress most natural dramatic conflict, so it's left to the actors to carry the day.
    • 62 Metascore
    • 60 John Hartl
    Entertaining as it often is, Outside Providence feels as if it were a collection of installments from an unusually raunchy television series.
    • 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.
    • 70 Metascore
    • 60 John Hartl
    The evidence Herzog serves up is impossible to dismiss.
    • 59 Metascore
    • 60 John Hartl
    For all its flaws, Fantasia 2000 is certainly something to see.
    • 73 Metascore
    • 60 John Hartl
    Soderbergh demands a lot from his star here, and she delivers.
    • 46 Metascore
    • 60 John Hartl
    An OK debut effort, but like so many "Pulp Fiction" wannabes, it lacks freshness and energy.
    • Film.com
    • 70 Metascore
    • 60 John Hartl
    Gitai, a veteran documentary director, refuses to find an easy resolution to the story, and that will frustrate as many people as it pleases.
    • 57 Metascore
    • 60 John Hartl
    Somewhere around the beginning of Hour Two, the narrative loses momentum, and Pino Donaggio's molasses-thick score begins to drag everything down with it. The ending also lacks the surprise twist that seems to be promised .
    • 68 Metascore
    • 60 John Hartl
    Livingston is especially good at capturing Peter's passive rebelliousness, which suggests the suddenly uncooperative worker who defies employer logic in Herman Melville's "Bartleby."
    • Film.com
    • 68 Metascore
    • 60 John Hartl
    All the ingredients are here for both a smashing courtroom drama and a legitimate tearjerker, but the film ultimately doesn't have the technique or the heart to deliver either.
    • 73 Metascore
    • 60 John Hartl
    Perhaps you have to have lived through the 1960s to relate.
    • 70 Metascore
    • 60 John Hartl
    Unfailingly energetic, 10 Things is like a puppy that can't stop wagging its tail, begging for attention...Even more than "Cruel Intentions," this movie plays like an awkward high-school production of a classic.
    • Film.com
    • 45 Metascore
    • 60 John Hartl
    Has its clunky and wince-worthy moments, it does explore some new territory, and there are moments when it's quite fresh and moving.
    • 59 Metascore
    • 50 John Hartl
    The ride in this road movie isn't always as smooth as it could be, but even the bumps have some charm.
    • 49 Metascore
    • 50 John Hartl
    Utterly lacks the spark that makes caper movies fun.