Pete Vonder Haar

Select another critic »
For 322 reviews, this critic has graded:
  • 32% higher than the average critic
  • 4% same as the average critic
  • 64% lower than the average critic
On average, this critic grades 7.7 points lower than other critics. (0-100 point scale)

Pete Vonder Haar's Scores

  • Movies
  • TV
Average review score: 52
Highest review score: 100 The King of Kong: A Fistful of Quarters
Lowest review score: 0 Date Movie
Score distribution:
  1. Negative: 74 out of 322
322 movie reviews
    • 46 Metascore
    • 40 Pete Vonder Haar
    Very little in Reservation Road ultimately rings true, which makes the anguished theatrics on display that much more exasperating.
    • 36 Metascore
    • 40 Pete Vonder Haar
    The Wicker Man isn't all that bad a movie; it's visually striking and ambitious in some ways. It just fails to bring enough to the table to fully distance itself from the original.
    • 64 Metascore
    • 40 Pete Vonder Haar
    For my money, no movie comes close to capturing the high school experience like "The Substitute."
    • 79 Metascore
    • 40 Pete Vonder Haar
    What Flags of Our Fathers is not, however, is moving, evocative, or very unique.
    • 40 Metascore
    • 40 Pete Vonder Haar
    The release of Fantastic Four marks the beginning of the end for movies based on Marvel Comics' upper tier of characters.
    • 45 Metascore
    • 40 Pete Vonder Haar
    The problem with Sandler’s latest movies is that he now feels the need to inject some sort of dramatic conflict in order to complete his character’s shallow story arc of maturation/redemption. Introducing such mawkish sentimentality causes the humor level in his films, never that elevated to begin with, to sink like America’s credibility overseas.
    • 53 Metascore
    • 40 Pete Vonder Haar
    The real problem is that Sex and the City is, except for a few laughs, mostly just irritating.
    • 57 Metascore
    • 40 Pete Vonder Haar
    Depressingly inert.
    • 22 Metascore
    • 30 Pete Vonder Haar
    Locker 13 brings the hurt, and not in a good way.
    • 46 Metascore
    • 30 Pete Vonder Haar
    Fails to satisfy.
    • 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.
    • 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.
    • 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?”
    • 42 Metascore
    • 30 Pete Vonder Haar
    Fred Claus is belligerently unfunny.
    • 60 Metascore
    • 30 Pete Vonder Haar
    Absent the actual music, Notorious would be a lot worse.
    • 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.
    • tbd Metascore
    • 30 Pete Vonder Haar
    Convergence ends up squandering too much of its setup time and rushing to a largely unsatisfying conclusion instead of actually coming together in a meaningful 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.
    • 42 Metascore
    • 30 Pete Vonder Haar
    Edward and Carter are like the original Odd Couple, except nobody’s laughing.
    • 42 Metascore
    • 30 Pete Vonder Haar
    The rape scene is, admittedly, as brutal as any I've seen in recent memory, but much of what Iliadis shows us is a direct riff on the original.
    • 49 Metascore
    • 30 Pete Vonder Haar
    It looks stylish, sure, but the script is laughable and the acting is ridiculous.
    • 45 Metascore
    • 30 Pete Vonder Haar
    As it is, you'd get the same level of excitement watching "T.J. Hooker" reruns.
    • 54 Metascore
    • 30 Pete Vonder Haar
    In truth, there's not much point to reviewing Adam Sandler comedies. They're almost always widely panned, and yet still manage to earn well over $100 million domestically. Don’' Mess with the Zohan looks to continue both trends, even if exaggerated Yiddish accents and sex with the elderly only take one so far.
    • 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.
    • 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.
    • 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.
    • 36 Metascore
    • 30 Pete Vonder Haar
    The Reaping isn't a total failure. Swank is never less than competent.
    • 32 Metascore
    • 30 Pete Vonder Haar
    Ferrara, best known as "Turtle" on HBO's Entourage, plays what is essentially a muted version of that character. Abeckaser is more believable, which is unsurprising, since the movie is loosely based on his own experiences.
    • 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.
    • 56 Metascore
    • 30 Pete Vonder Haar
    The most interesting aspects of the film — the real pressures felt by caregivers; popular perception of the severely disabled — are obliterated by the heavy-handed script and Swank’s inspirational bromides.

Top Trailers