For 227 reviews, this critic has graded:
  • 43% higher than the average critic
  • 5% same as the average critic
  • 52% 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: 63
Highest review score: 100 Brazil
Lowest review score: 10 Hollow Man
Score distribution:
  1. Negative: 29 out of 227
227 movie reviews
    • 78 Metascore
    • 80 John Hartl
    All of it is vital and involving, and some of it is hilarious...I've rarely seen a group of people in a darkened theater react as viscerally as they do to Reservoir Dogs.
    • Film.com
    • 81 Metascore
    • 80 John Hartl
    Typically low-key and lovely.
    • 70 Metascore
    • 75 John Hartl
    A Man Called Ove has some tear-jerking moments, but the film is so carefully designed — with long, circular takes that seem to surround the main characters at crucial fateful points — that technique often triumphs over sentimentality.
    • 75 Metascore
    • 75 John Hartl
    Reiner's direction and William Goldman's script succeed on their own cartoonish level, and Kathy Bates, who plays the fan as if she were a close relative of Norman Bates, rips into the role with undisguised relish. [30 Nov 1990, p.24]
    • The Seattle Times
    • 49 Metascore
    • 75 John Hartl
    Achingly sad and dismayingly familiar.
    • 69 Metascore
    • 75 John Hartl
    Ingeniously using his low budget to address his ambitions, Johnson has directed, co-written (and starred in) a unique science-fiction film.
    • 72 Metascore
    • 75 John Hartl
    If The Eagle Huntress sounds familiar, that’s because the outline of a modern feminist epic is always there in the background. What’s surprising is how fresh and charming the movie manages to be.
    • 76 Metascore
    • 75 John Hartl
    The full title, Lo and Behold, Reveries of the Connected World, is pure, over-the-top Herzog: simultaneously an embrace of fresh internet technology and an attempt to suggest a mythical dimension.
    • 53 Metascore
    • 75 John Hartl
    The movie is a stylized collection of well-timed shockers, helped along by the contributions of its capable cast, especially Neill, who plays the detective in a hard-boiled manner that suggests 1940s film noir. [03 Feb 1995, p.H31]
    • The Seattle Times
    • 69 Metascore
    • 75 John Hartl
    A powerful new documentary.
    • 80 Metascore
    • 75 John Hartl
    Some scenes hold up better than others, and there’s always a question about the film’s intentions: Is this voyeurism or is it satire taking off on the Playboy era? Condemned by the Catholic Legion of Decency in 1960, Private Property is less dated than you might think.
    • 68 Metascore
    • 75 John Hartl
    Swedish director Roar Uthaug (“Cold Prey“) depends on well-crafted suspense, spot-on casting and ingenious special effects to tell the story of a dedicated geologist (Kristoffer Joner) who prophesies watery disaster in touristy Norway.
    • 57 Metascore
    • 75 John Hartl
    The whole may be less than its parts, but the parts are pretty impressive.
    • 81 Metascore
    • 75 John Hartl
    The ingenious cinematographer, Bobby Shore, uses the Newfoundland locations to achieve some of his most striking effects. The result is sort of a horror film, but not really. It’s too funny to be categorized that way.
    • 47 Metascore
    • 75 John Hartl
    For a brilliant approximation of the man himself, watch Downey in this film. This is a performance created out of equal parts talent, hard work and love. It's uncanny. [08 Jan 1993, p.3]
    • The Seattle Times
    • 81 Metascore
    • 75 John Hartl
    Whose Streets? marks the filmmaking debut of Folayan and Davis, and it’s charged by its personal touch.
    • 74 Metascore
    • 75 John Hartl
    The first-time director, Cesar Augusto Acevida, composes his frames carefully, using closing doorways to suggest alienation, as John Ford did in “The Searchers.” The harvesting and crop fire scenes recall Terrence Malick’s “Days of Heaven.”
    • 60 Metascore
    • 75 John Hartl
    Eisenstein in Guanajuato is an outrageous comic-erotic extravaganza that has more of a narrative arc than most Greenaway movies.
    • 66 Metascore
    • 75 John Hartl
    The protests that lead to the overthrow of a president carry hard-to-avoid echoes of recent demonstrations in the U.S.
    • 69 Metascore
    • 75 John Hartl
    For all its rough edges and gruesome touches, Patriots Day is a heartfelt and ambitious attempt to turn mayhem into something that’s emotionally valid.
    • 69 Metascore
    • 75 John Hartl
    A unique and satisfying new documentary.
    • 75 Metascore
    • 75 John Hartl
    The laughs are sometimes bigger than expected, and so are the emotions stirred by the bittersweet finale.
    • 54 Metascore
    • 75 John Hartl
    Harrison is more interested in teasing than frightening an audience to death, but he still manages to deliver several strong jolts. So does the cast of first-rate actors, who obviously had a marvelous time turning themselves into goons, cannibals, gargoyles and ghouls. [04 May 1990, p.28]
    • The Seattle Times
    • 74 Metascore
    • 75 John Hartl
    It's light and fizzy and fun without once calling attention to the fact that a lot of hard work went into it (Gerald Scarfe's sharp production design keeps it from looking quite like any other Disney cartoon). [27 June 1997, p.F1]
    • The Seattle Times
    • 58 Metascore
    • 75 John Hartl
    The pace is swift, archival clips are well-chosen and conspiracy theories pile up in a way that seems intentionally funny.
    • 56 Metascore
    • 75 John Hartl
    Kaufman can't raise the script far above the pulp material on which it's based, but it's a more intelligent adaptation than this summer's blockbuster movie of Crichton's "Jurassic Park." It's also a more interesting consideration of racial-cultural conflicts than such major-studio gaffes as "Mr. Baseball" and "Falling Down." [30 July 1993, p.D3]
    • The Seattle Times
    • 69 Metascore
    • 75 John Hartl
    Slick and raunchy when it might have been grindingly realistic, Viva is finally all heart.
    • 70 Metascore
    • 75 John Hartl
    If you can take it for what it is, however, City Slickers does deliver the goods, especially during its sprightly first half. [7 June 1991, p.22]
    • The Seattle Times
    • 63 Metascore
    • 75 John Hartl
    I.F. Stone, an underground journalist who died in1989, left a rich legacy that is celebrated in a timely new documentary, All Governments Lie: Truth, Deception and the Spirit of I.F. Stone.
    • 76 Metascore
    • 75 John Hartl
    Engaging and constantly surprising.

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