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 0.3 points higher than other critics. (0-100 point scale)

John Hartl's Scores

  • Movies
  • TV
Average review score: 60
Highest review score: 100 To Die For
Lowest review score: 10 Drop Dead Gorgeous
Score distribution:
  1. Positive: 74 out of 155
  2. Negative: 24 out of 155
155 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
    Its honesty and insights are refreshing.
    • Film.com
    • 71 Metascore
    • 70 John Hartl
    Gorgeous and troubling.
    • 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
    • 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
    • 61 Metascore
    • 70 John Hartl
    Warm and fuzzy and amusing enough to be slightly more than an innocuous baby-sitter for the kids.
    • 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.
    • 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
    • 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
    • 65 Metascore
    • 70 John Hartl
    A tasty/tacky treat.
    • 61 Metascore
    • 70 John Hartl
    A very romantic picture.
    • 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
    • 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
    • 67 Metascore
    • 70 John Hartl
    Even as you question the central premise, Brooks makes you want to buy into it.
    • Film.com
    • 73 Metascore
    • 60 John Hartl
    Perhaps you have to have lived through the 1960s to relate.
    • 46 Metascore
    • 60 John Hartl
    An OK debut effort, but like so many "Pulp Fiction" wannabes, it lacks freshness and energy.
    • Film.com
    • 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 .
    • 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
    • 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.
    • 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.
    • 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.
    • 59 Metascore
    • 60 John Hartl
    For all its flaws, Fantasia 2000 is certainly something to see.
    • 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.
    • 73 Metascore
    • 60 John Hartl
    Soderbergh demands a lot from his star here, and she delivers.
    • 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.
    • 70 Metascore
    • 60 John Hartl
    The evidence Herzog serves up is impossible to dismiss.
    • 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.
    • 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
    • 63 Metascore
    • 50 John Hartl
    Fails to single out one plot thread and make a claim to it.
    • 65 Metascore
    • 50 John Hartl
    Doesn't know when to stop with the jokes about other horror movies and settle down to tell a coherent story.
    • Film.com

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