Peter Hartlaub
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For 418 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 5.7 points lower than other critics. (0-100 point scale)

Peter Hartlaub's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Frozen
Lowest review score: 0 Silent Hill
Score distribution:
418 movie reviews
    • 55 Metascore
    • 50 Peter Hartlaub
    A movie that doesn't quite have enough romance, thriller or revenge-fantasy elements to qualify for any of those genres. More than anything, it's a celebration of uncomfortable silences. The awkward moments in this movie far outweigh the joyful or tragic ones.
    • 37 Metascore
    • 50 Peter Hartlaub
    Forgettably mediocre, but it's not atrocious.
    • 36 Metascore
    • 50 Peter Hartlaub
    The predictable script feels as if it were filmed right off the cocktail napkin it was jotted on, but at least the movie has an "Ocean's 11" sequel's worth of good actors, including Alfred Molina, Jeremy Irons and Jean Reno.
    • 65 Metascore
    • 50 Peter Hartlaub
    The film often stumbles in translation, trying to define too many characters in too little time.
    • 53 Metascore
    • 50 Peter Hartlaub
    The script is weak, but everyone on the technical side of "Soul Surfer" is a pro. The scenes in the water flow together nicely, and the action is always coherent. Robb's scenes without an arm look seamless throughout the movie.
    • 56 Metascore
    • 50 Peter Hartlaub
    Think “Lord of the Flies,” without all the jerks.
    • 37 Metascore
    • 50 Peter Hartlaub
    The film does thoroughly succeed in one important regard: offering a coherent, viewer-friendly account of the life of Jesus Christ.
    • 59 Metascore
    • 50 Peter Hartlaub
    The final message is a strong one: Even when the starting forward is one of the best high school players ever, basketball is still a team sport.
    • 45 Metascore
    • 50 Peter Hartlaub
    The high school comedy/drama morphs into a slasher movie, then morphs into a time-traveling/body-switching/world's-about-to-end science fiction story. Everyone on the set must have been chugging Mountain Dew between takes. I suspect that the editor was hooked up to an IV of the beverage.
    • 57 Metascore
    • 50 Peter Hartlaub
    Hawke is half-assed throughout, showing passion only when he's screaming like a little girl when something scary happens. The visuals have a dingy, unfocused quality, especially in the muddy visual-effects-enhanced backdrops. And some of the plot turns are awful. The vampire "cure" is so stupid, you'll want to walk out of the theater, even if you normally like this kind of movie.
    • 33 Metascore
    • 50 Peter Hartlaub
    There are fun distractions, but it's easy to focus on the flaws.
    • 22 Metascore
    • 50 Peter Hartlaub
    Not only less than horrible, but actually occasionally enjoyable.
    • 36 Metascore
    • 50 Peter Hartlaub
    A relatively harmless movie that becomes killing-a-mockingbird sinful for what it does to its leads.
    • 40 Metascore
    • 50 Peter Hartlaub
    If Insidious 2 exists solely because Insidious 1 made a ton of money, then at least credit Wan for making quality control a priority.
    • 51 Metascore
    • 50 Peter Hartlaub
    A strange film, because it seems designed specifically for extremely old moviegoers to see with their great-great-grandchildren.
    • 45 Metascore
    • 50 Peter Hartlaub
    Despite a decent cast of mostly British voice actors and better-than-average computer animation, the movie seems rushed at 76 minutes and is only marginally funny.
    • 58 Metascore
    • 50 Peter Hartlaub
    Less a story than a series of complicated slapstick bits.
    • 39 Metascore
    • 50 Peter Hartlaub
    Airplane buffs are going to have a particularly good time; each of the planes seems to have an obscure real-life counterpart. And pop-culture junkies will appreciate a few sly nods as well.
    • 62 Metascore
    • 50 Peter Hartlaub
    The story is painfully simplistic, and it becomes quickly apparent that the narrative is a crude cement to hold together the carnage.
    • 53 Metascore
    • 50 Peter Hartlaub
    As the film meanders, the powerful moments barely outnumber the ridiculous. And another excellent performance from McAdams isn't quite good enough to mask the distractions.
    • 51 Metascore
    • 50 Peter Hartlaub
    Isn't quite as boring as it sounds, thanks to writer/director Steve Conrad's strong script and decent performances by John C. Reilly and Seann William Scott.
    • 62 Metascore
    • 50 Peter Hartlaub
    It's a weighty and visually interesting movie that unfortunately doesn't have a strong message beyond its overwhelming bleakness.
    • 47 Metascore
    • 50 Peter Hartlaub
    This film is too scary for very young children, while older fans are likely to focus on the film not faring well in comparison to the elder Miyazaki's recent work.
    • 43 Metascore
    • 50 Peter Hartlaub
    If Stanley Kubrick filmed an orgy like the one in this film, "Eyes Wide Shut" might have been halfway tolerable.
    • 39 Metascore
    • 50 Peter Hartlaub
    There are plenty of bad films to get riled up about in the summer. Percy Jackson: Sea of Monsters isn't one of them. This is harmless tween-centric fun.
    • 47 Metascore
    • 50 Peter Hartlaub
    Filmgoers looking for copious amounts of mindless violence won't be disappointed.
    • 53 Metascore
    • 50 Peter Hartlaub
    Legend of the Guardians sounds as if it were scripted by a team of 11-year-old boys, with too much plot for its 91-minute running time, a script that steals liberally from "Star Wars" and some occasionally eye-roll-worthy weirdness.
    • 32 Metascore
    • 50 Peter Hartlaub
    Isn't a terrible addition to the teen coming-of-age party movie catalog. It just feels dated.
    • 29 Metascore
    • 50 Peter Hartlaub
    A lot more enjoyable if you can leave your cognitive skills at the door.
    • 62 Metascore
    • 50 Peter Hartlaub
    At its best, the movie is a collection of entertaining memories from a group of gutsy women.
    • 42 Metascore
    • 50 Peter Hartlaub
    The core fan base of this English sword battle drama will pay for the boundary-pushing blood and gore. Why bore them with things like plot and context and production values?
    • 30 Metascore
    • 50 Peter Hartlaub
    Once you're done trying to conjugate the smurfs, there's a better movie than anyone could have possibly expected, thanks in large part to an honest effort by Harris in a thankless role.
    • 70 Metascore
    • 50 Peter Hartlaub
    The movie is an enjoyable but flawed attempt at an epic story, with too much of the best action concentrated in the beginning.
    • 50 Metascore
    • 50 Peter Hartlaub
    Lottery Ticket is likable, and that goes a long way.
    • 57 Metascore
    • 50 Peter Hartlaub
    The performances are the best part of this uneven film.
    • 49 Metascore
    • 50 Peter Hartlaub
    It's an imperfect facsimile, guilty of borrowing too many ideas from the earlier film, and then executing them with differing results.
    • 49 Metascore
    • 50 Peter Hartlaub
    It's a bright and fun movie, but also repetitive and overloaded with plot. A nice enough diversion, but not a necessary one.
    • 61 Metascore
    • 50 Peter Hartlaub
    Frenetically paced but mostly pointless computer-animated film that will satisfy children but may give parents a headache.
    • 37 Metascore
    • 50 Peter Hartlaub
    Well written but weakly executed, it's hard to imagine anyone is going to cherish the film, if they even remember it in three months' time.
    • 46 Metascore
    • 50 Peter Hartlaub
    Basically torture porn.
    • 45 Metascore
    • 50 Peter Hartlaub
    It's a homemade protein-and-steroids smoothie of a plot, combining elements of gore, self-parody, 1990s nostalgia overload and an attempt to say something -- while actually saying absolutely nothing -- about the American dream.
    • San Francisco Chronicle
    • 45 Metascore
    • 50 Peter Hartlaub
    The makers of Into the Blue know what the audience wants. And they deliver a little bit more.
    • 43 Metascore
    • 50 Peter Hartlaub
    The remake is a solidly crafted movie with a lot of good scares, but it also raises the question: Why even bother with an update?
    • 35 Metascore
    • 50 Peter Hartlaub
    Not a spectacular movie, but the action scenes are well shot, there's no shortage of R-rated gore and the plot moves along quickly enough to mask the fact that the whole endeavor is completely ridiculous.
    • 41 Metascore
    • 50 Peter Hartlaub
    As much as Machete Kills is a reunion and continued revival, it also represents a sort of gentrification of the exploitation genre. It's probably time to move on and let a new generation of kids take a crack at making bad films.
    • 37 Metascore
    • 50 Peter Hartlaub
    The script highlights an annoying lack of self-preservation on behalf of the protagonists. But the movie tries to be more than just a creepy doll freakout, and delivers the requisite scares.
    • 56 Metascore
    • 50 Peter Hartlaub
    The writing is funny during individual moments, but the cumulative result is a bit depressing, with a surprising amount of negativity.
    • 50 Metascore
    • 50 Peter Hartlaub
    Will satisfy its young fan base and is bound to make a ton of money. At this point, though, the series is no longer an artistic pursuit; it's a business deal.
    • 60 Metascore
    • 50 Peter Hartlaub
    The songs and a couple of strong performances are only good enough to make the film watchable, not exceptional.
    • 42 Metascore
    • 50 Peter Hartlaub
    Transcendence looks and sounds like a Christopher Nolan film that got attacked by malware.
    • 57 Metascore
    • 50 Peter Hartlaub
    Feels a bit too much like six hours of movie packed into 113 minutes - imagine if New Line had made Peter Jackson cram the entirety of "Lord of the Rings" into one film.
    • 59 Metascore
    • 50 Peter Hartlaub
    You might need the assistance of a time machine to find a child who is clamoring for a Mr. Peabody & Sherman feature film remake.
    • 68 Metascore
    • 50 Peter Hartlaub
    The new Disneynature film lacks the fortuitous plot turns found in previous Disney documentaries, resulting in some awkward (and possibly deceptive) editing. But the movie has a strong protagonist and impressive footage, and the educational core is unsullied.
    • 50 Metascore
    • 50 Peter Hartlaub
    Pretty much everything shot by Shepard and co-director David Palmer looks as if it was done in one take. Hit & Run is closest in tone to the Tarantino-penned "True Romance," but it lacks that movie's menace.
    • 32 Metascore
    • 50 Peter Hartlaub
    It's hard to deny that the first two-thirds of G.I. Joe is an enjoyable film, especially when graded on the curve of lowered expectations. Compared to other big-budget movies out this summer, it's pretty mediocre.
    • 48 Metascore
    • 50 Peter Hartlaub
    An occasionally rousing but mostly just adequate sequel to last year's "Planes."
    • 43 Metascore
    • 50 Peter Hartlaub
    The movie is not as good as his recent low-budget effort, "Diary of the Dead," but there are enough moments of satire and coolness - two Romero hallmarks - to merit recommendation.
    • 56 Metascore
    • 50 Peter Hartlaub
    Jackass 3D has its moments, but it lacks the ingenuity and hilarity of the previous films - no doubt in large part because of the aging process.
    • 42 Metascore
    • 50 Peter Hartlaub
    G
    Unpolished but entertaining.
    • 87 Metascore
    • 50 Peter Hartlaub
    Naysayers have been claiming for years that the "Moneyball" book wouldn't work as a movie. But ultimately, it's the cinematic touches that keep this film version from becoming something exceptional.
    • 35 Metascore
    • 50 Peter Hartlaub
    Looks fantastic, but the film suffers from the TV-to-feature transition.
    • 40 Metascore
    • 50 Peter Hartlaub
    In style and tone, Igor seems more like a short from the adult-oriented "Spike & Mike's Festival of Animation."
    • 41 Metascore
    • 50 Peter Hartlaub
    The second half of the film is much funnier and warmer than the first, but the movie is still difficult to recommend.
    • 58 Metascore
    • 50 Peter Hartlaub
    A workmanlike effort -- a precision piece of filmmaking that provides education for children and a refresher course that adults can benefit from as well.
    • 33 Metascore
    • 50 Peter Hartlaub
    Better than a lot of teen comedies.
    • 58 Metascore
    • 50 Peter Hartlaub
    Trouble With the Curve has a problem tipping its pitches.
    • 20 Metascore
    • 50 Peter Hartlaub
    Hackl weaves scenes from the previous films into this one in clever ways, without adding to the confusion. The director also does a good job of maintaining the dark tone, which includes FBI offices that look as if they're being illuminated by night-lights, and dungeons that look as if you'd catch a venereal disease or two just by touching the door handles.
    • 54 Metascore
    • 50 Peter Hartlaub
    Has a few charming moments and a scene or two with legitimate hilarity, but mostly it's just mediocre.
    • 33 Metascore
    • 50 Peter Hartlaub
    Delivers all the pain, melodrama and redemption that fans of the genre demand.
    • 52 Metascore
    • 50 Peter Hartlaub
    It's a disappointment to see the teen pop star hop in a tour bus. This is a boy who should be traveling across rainbows on the back of a unicorn.
    • 46 Metascore
    • 50 Peter Hartlaub
    To enjoy it you almost have to be stoned on marijuana.
    • 49 Metascore
    • 50 Peter Hartlaub
    More action directors should include scenes such as the Mercers' extended Thanksgiving dinner, which fleshes out the bond between the brothers without using too many words.
    • 47 Metascore
    • 50 Peter Hartlaub
    The humor is lowbrow, but the screenwriters and performers have a sense of pride that makes them strive for stupid jokes that haven't been done before.
    • 51 Metascore
    • 50 Peter Hartlaub
    Many of the individual scenes are compelling, with a gritty tension that recalls "The Wire" and other good television. But too many of the attempts at "The Sopranos"-style comic drama fail.
    • 29 Metascore
    • 50 Peter Hartlaub
    An enjoyable movie not because of any special gifts by the filmmakers or emotional resonance in the script. It was more like destiny. Once someone jotted down the concept on a cocktail napkin and hired B-Boys who could actually dance, the movie pretty much had to turn out OK.
    • 44 Metascore
    • 50 Peter Hartlaub
    By the time the sex actually starts, any sense of tension or anticipation is gone. It's the rare orgy that feels like an anticlimax.
    • 53 Metascore
    • 50 Peter Hartlaub
    Starts out OK, but then almost seems to be intentionally going for humor.
    • 47 Metascore
    • 50 Peter Hartlaub
    Disappointingly mediocre.
    • 34 Metascore
    • 50 Peter Hartlaub
    It's Valentine's Day! Unrealistic romantic expectations are in the air! And Safe Haven does the unrealistic romance thing pretty well.
    • 46 Metascore
    • 50 Peter Hartlaub
    Despite some solid acting, the film is lacking in surprises. For all the suffering that these characters endure, there's very little payoff.
    • 29 Metascore
    • 50 Peter Hartlaub
    Zellweger takes an otherwise passable mainstream comedy and all but ruins it with her lack of effort.
    • 71 Metascore
    • 50 Peter Hartlaub
    The documentary isn't particularly thrilling, or even very informative, but it's almost certain to lower your blood pressure for 83 minutes.
    • 47 Metascore
    • 50 Peter Hartlaub
    A decent-looking and harmless computer animated film that is notable mostly because it doesn't appear to contain a single original idea.
    • 52 Metascore
    • 50 Peter Hartlaub
    Writer-director Michael Tully simultaneously pays tribute to his own 1980s childhood and the cliched movies he grew up watching, and the result is one of the most honestly dishonest movies you'll ever watch.
    • 41 Metascore
    • 50 Peter Hartlaub
    A ridiculous teen horror movie that piles on more than enough dry humor and freshly moistened gore to satisfy its lowbrow audience.
    • 35 Metascore
    • 50 Peter Hartlaub
    Grudge Match at its core is an affront to the cinema gods, an attempt to capitalize off two iconic films for a few cheap laughs.
    • 62 Metascore
    • 50 Peter Hartlaub
    The film is so harmless, and the young actors try so hard, that it's difficult not to have some fun.
    • 58 Metascore
    • 50 Peter Hartlaub
    It's a strain to poke fun at Dolphin Tale 2. Even more than the very solid first film, this is cynicism-free cinema; a place where snark goes to die. But while the wholesomeness, PG-rating positivity and conservation goals remain a strong selling point, the story simply isn't as good as the first one.
    • 71 Metascore
    • 50 Peter Hartlaub
    The makers of Man Push Cart seem so dedicated to making a film that defies Hollywood conventions that the finished product lacks enough entertainment value to justify price of admission.
    • 62 Metascore
    • 50 Peter Hartlaub
    Although most of the actors beyond Bell aren't big film stars, Jamie Lee Curtis gets a few minutes of screen time, and James Franco makes a spectacularly self-deprecating cameo. Whatever they contributed to the Kickstarter campaign, it was worth every cent.
    • 47 Metascore
    • 50 Peter Hartlaub
    It's difficult to ignore the fact that they've created a romantic comedy that has almost no romance and even less comedy.
    • 36 Metascore
    • 50 Peter Hartlaub
    Obvious, but at least it's clean.
    • 36 Metascore
    • 50 Peter Hartlaub
    The Invisible is, at its core, a character study, albeit one with a Patrick Swayze-in-"Ghost" paranormal edge. But it's definitely not mindless trash. If anything, the movie is too introspective, to the point that it doesn't build enough conflict or tension.
    • 72 Metascore
    • 50 Peter Hartlaub
    Difficult to watch, and the film is sabotaged by an impossibly naive lead character and the repetitive auditions that become gratuitously depressing.
    • 51 Metascore
    • 50 Peter Hartlaub
    Has a made-for-television style.
    • 56 Metascore
    • 50 Peter Hartlaub
    If you can get past the impossibilities it is a fun time at the movies.
    • 43 Metascore
    • 50 Peter Hartlaub
    Poorly written, contains too much hero worship and profiles too many events - including one that combines the high jump with motorcycles. But the documentary generates a remarkable amount of goodwill with its stunning visuals, which look breathtaking in 3-D.
    • 33 Metascore
    • 50 Peter Hartlaub
    Although the finished product isn't great, it's more akin to a bad Steve Martin movie from the 1980s than bad Pauly Shore from the 1990s. We mean that as a compliment (sort of).
    • 54 Metascore
    • 50 Peter Hartlaub
    Difficult to recommend, without first knowing the sobriety of the viewer.

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