For 283 reviews, this critic has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

John Hartl's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Brazil
Lowest review score: 10 Hollow Man
Score distribution:
  1. Negative: 37 out of 283
283 movie reviews
    • 79 Metascore
    • 100 John Hartl
    Raucously entertaining.
    • Film.com
    • 78 Metascore
    • 90 John Hartl
    Could be called the "Red Badge of Courage" of World War II movies.
    • 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 .
    • 35 Metascore
    • 63 John Hartl
    Stephen Herek, who directed Critters and Bill and Ted's Excellent Adventure, nevertheless keeps the story spinning along as if he believed it, and he works well with the actors, especially Cassidy, who plays her dotty career woman with a mixture of brassiness and resilience that's quite engaging; Coogan, a natural young comic who is becoming indispensable in movies like this; and Applegate, who looks very much like a movie star in her major-studio, big-screen debut. [07 June 1991, p.29]
    • The Seattle Times
    • 64 Metascore
    • 80 John Hartl
    Grass is often closer to the sobering tone of the PBS show than it is to the silly "Weed," with its stoned, barely literate potheads discussing the quality of their dope.
    • 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
    • 33 Metascore
    • 20 John Hartl
    Misbegotten comedy-drama.
    • 58 Metascore
    • 75 John Hartl
    The format couldn't be slighter or more familiar, yet this Australian film-festival favorite is one of the freshest romantic comedies of the season. [11 Apr 1997, p.F5]
    • The Seattle Times
    • 54 Metascore
    • 40 John Hartl
    It's "The Hustler with poker and without soul...For all its flash and occasional sizzle, "Rounders" is a disappointment.
    • 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.
    • 61 Metascore
    • 63 John Hartl
    The movie ends up playing like a series of skits and one-liners, some of them pointed and funny, that strain to achieve structure, substance and a workable ending. Fortunately, Judy Davis and Peter Weller are Tolkin's stars, and they're capable of providing a center for almost anything. [23 Sept 1994, p.H3]
    • The Seattle Times
    • 36 Metascore
    • 38 John Hartl
    Cynical, over-hyped and enthusiastically brainless, Bird on a Wire demonstrates the programmed, soul-less bankruptcy of the Hollywood hit-making system in the early 1990s. [18 May 1990, p.28]
    • The Seattle Times
    • 60 Metascore
    • 40 John Hartl
    Its pretensions eventually undo it.
    • 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.
    • 62 Metascore
    • 88 John Hartl
    Greenaway keeps his wits about him. His vision of human evil is as droll as it is unrelenting. Trained as a painter, he can't help making this particular hell look gorgeous. "The Cook, the Thief, etc." is, paradoxically, a beautiful, drily witty film about monstrous vulgarity and ugliness. [6 Apr 1990, p.22]
    • The Seattle Times
    • 80 Metascore
    • 90 John Hartl
    Perhaps the primary reason A Room With a View is so involving is that Ivory has cast the film perfectly, and given each of the actors ample room to breathe. Even the characters you're not supposed to like are allowed their moments of vulnerable humanity.
    • 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.
    • 57 Metascore
    • 63 John Hartl
    Although it too often succumbs to the kind of whimsical sentimentality about the mentally ill that has afflicted movies from King of Hearts to The Fisher King, this filmed-in-Spokane comedy-drama is almost salvaged by its excellent cast. [16 Apr 1993, p.3]
    • The Seattle Times
    • 69 Metascore
    • 75 John Hartl
    If Guncrazy ultimately fails to be quite as wild and bleak as the 1949 Gun Crazy, or as zeitgeist-distinctive as Badlands and Bonnie and Clyde, it's still a most promising first effort. Davis' black-comedy touches, her careful casting and her confident handling of actors all suggest a filmmaker to watch. [20 Feb 1993, p.C5]
    • The Seattle Times
    • 13 Metascore
    • 30 John Hartl
    A Boring Young Couple.
    • 65 Metascore
    • 63 John Hartl
    Earnest, well-acted and occasionally compelling, School Ties gets an A for effort and a C-plus for achievement. At best, it's like a well-mounted, feature-length afterschool special about prep-school anti-Semitism in the mid-1950s. With hate crimes on the rise, it's unfortunately timely now, and its heart is always in the right place. At worst, it's a single-minded exploration of the subject, with too many aspects left untouched. [18 Sept 1992, p.26]
    • The Seattle Times
    • 66 Metascore
    • 63 John Hartl
    The script by sports-movie veteran Ron Shelton is an understandable but rather monotonous attempt to deal with the differences between hard truth and media-created mirages.
    • 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.
    • 65 Metascore
    • 40 John Hartl
    This could be the year's most pretentious Hollywood film.
    • Film.com
    • 94 Metascore
    • 90 John Hartl
    Quentin Tarantino's latest movie puts an epic spin on a favorite genre, taking it to time-tripping levels rarely tested by its forerunners.
    • Film.com
    • 71 Metascore
    • 70 John Hartl
    Its honesty and insights are refreshing.
    • Film.com
    • 56 Metascore
    • 50 John Hartl
    The movie jerks tears shamelessly, it smugly mocks the political and fashion trends of the early 1970s, its characters make no sense at all, and it even makes fun of senility. [27 Nov 1991, p.C1]
    • The Seattle Times
    • 71 Metascore
    • 70 John Hartl
    Gorgeous and troubling.
    • 37 Metascore
    • 25 John Hartl
    Director Renny Harlin and his writers, Robert King and Marc Norman, appear to have spent many hours watching bad pirate movies, and they seem determined to repeat every pieces-of-eight cliche. [22 Dec 1995, p.G8]
    • The Seattle Times
    • 10 Metascore
    • 38 John Hartl
    This installment is essentially the same mix as before, with only a better-than-average cast to recommend it. [30 Sept 1995, p.F7]
    • The Seattle Times

Top Trailers