Pete Vonder Haar
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For 300 reviews, this critic has graded:
  • 31% higher than the average critic
  • 4% same as the average critic
  • 65% lower than the average critic
On average, this critic grades 7.1 points lower than other critics. (0-100 point scale)

Pete Vonder Haar's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
Lowest review score: 0 The Ringer
Score distribution:
  1. Negative: 68 out of 300
300 movie reviews
    • 19 Metascore
    • 30 Pete Vonder Haar
    What starts out as a moderately interesting thriller in the vein of Blue Velvet and Angel Heart ends up less than the sum of its portentous parts.
    • 29 Metascore
    • 30 Pete Vonder Haar
    The depressingly predictable script—and tendency of everyone involved to jump to ridiculous conclusions—suggests a combination of Noises Off at best, and at worst, Three's Company.
    • 27 Metascore
    • 30 Pete Vonder Haar
    Vlahakis's tale should be compelling, but a weak script and mostly dull performances (one exception: Billy Zane . . . I know!) make A Green Story more monotonous than mythic.
    • 25 Metascore
    • 30 Pete Vonder Haar
    The endless hidden connections and coincidences eventually become ridiculous.
    • 22 Metascore
    • 30 Pete Vonder Haar
    Locker 13 brings the hurt, and not in a good way.
    • 44 Metascore
    • 30 Pete Vonder Haar
    Wolf Creek 2 merely offers more of the same casual brutality. The only shocking (and depressing) part is how inured to it moviegoers have become.
    • 36 Metascore
    • 30 Pete Vonder Haar
    Veers back and forth between indigestibly syrupy romance and vulgar "ethnic" comedy, with healthy doses of Christian proselytizing thrown in for good measure.
    • 34 Metascore
    • 30 Pete Vonder Haar
    An almost constant misfire. From its paper-thin plot to the utterly flat script, virtually nothing works.
    • 45 Metascore
    • 30 Pete Vonder Haar
    Even understanding the audience for which Kicking & Screaming is aiming, it's hard not to notice the flaws.
    • 52 Metascore
    • 30 Pete Vonder Haar
    Dark Water isn't a bad horror movie, simply because it isn’t horror at all: a full hour passes before anything remotely scary occurs, and all the suspenseful scenes take place in the final ten minutes (and are all fully shown in the trailer). What's left is tedium and a seemingly endless build-up to nothing much at all, making it a bad movie. Period.
    • 46 Metascore
    • 30 Pete Vonder Haar
    The movie wastes the talents of its two leads by refusing to take any risks with the material, marching in lockstep to every genre cliché.
    • 33 Metascore
    • 30 Pete Vonder Haar
    Just make sure you exit the theater before Simpson's god-awful version of "These Boots Are Made for Walking" starts playing during the end credits, or you may find yourself taking the straw from your drink and puncturing your own eardrums in self defense.
    • 47 Metascore
    • 30 Pete Vonder Haar
    You won’t want to sit through.
    • 58 Metascore
    • 30 Pete Vonder Haar
    First-time director James Gartner has managed to whittle away whatever was compelling about the 1966 Miners championship run.
    • 36 Metascore
    • 30 Pete Vonder Haar
    Lackluster dialogue, ludicrously unbelievable storyline, and the fact that the entire film looks and sounds like it was shot on a camcorder mean nobody outside of the studio’s target demographic is likely to check this out.
    • 73 Metascore
    • 30 Pete Vonder Haar
    If Cars is indicative of the kind of movie we can expect from Pixar post-Disney merger, well, there's always Miyazaki.
    • 46 Metascore
    • 30 Pete Vonder Haar
    Fails to satisfy.
    • 36 Metascore
    • 30 Pete Vonder Haar
    Lady is more of an ensemble picture, and truly the Cove is the most ethnically diverse and community-minded apartment complex in the continental United States.
    • 48 Metascore
    • 30 Pete Vonder Haar
    Scoop is about 50 minutes of plot padded with 40 minutes of Woody being Woody.
    • 49 Metascore
    • 30 Pete Vonder Haar
    It looks stylish, sure, but the script is laughable and the acting is ridiculous.
    • 28 Metascore
    • 30 Pete Vonder Haar
    Reviewing it is a wholly meaningless exercise, but I do it against my better judgment that anyone even seeks a second opinion before plopping down their hard-earned money for garbage like this.
    • 36 Metascore
    • 30 Pete Vonder Haar
    The Reaping isn't a total failure. Swank is never less than competent.
    • 45 Metascore
    • 30 Pete Vonder Haar
    The only mildly interesting bit of casting comes from bringing Cartwright back (as one of Bennell’s patients).
    • 46 Metascore
    • 30 Pete Vonder Haar
    Better than I expected, but since I expected it to be a horrific failure, that isn’t saying much.
    • 42 Metascore
    • 30 Pete Vonder Haar
    Fred Claus is belligerently unfunny.
    • 35 Metascore
    • 30 Pete Vonder Haar
    Let's start with the obvious: Olyphant just isn't that intimidating an assassin. Think of some of cinema's more memorable button men: Léon, Luca Brasi, Frank Nitti...that's right, not a pretty boy in the bunch.
    • 42 Metascore
    • 30 Pete Vonder Haar
    Edward and Carter are like the original Odd Couple, except nobody’s laughing.
    • 29 Metascore
    • 30 Pete Vonder Haar
    Fool's Gold could easily have been released in 1977, and there's a sort of laid-back, timeless, Gerald Ford feel to the movie: the resolution is never in doubt, the villains are comedic rather than menacing, and no one involved seems to care one way or the other that their names are attached to this indifferent mess.
    • 40 Metascore
    • 30 Pete Vonder Haar
    What you won’t be able to ignore is the ridiculous way Vantage Point’s brings everything to an end.
    • 55 Metascore
    • 30 Pete Vonder Haar
    Two things come to mind as you watch the first act of Street Kings, the first is how fresh and exciting the movie would’ve been if it was released in 1984, the second is the question, “James Ellroy wrote that?”