Peter Hartlaub

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For 454 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 6.1 points lower than other critics. (0-100 point scale)

Peter Hartlaub's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Murderball
Lowest review score: 0 The Smurfs 2
Score distribution:
454 movie reviews
    • 77 Metascore
    • 100 Peter Hartlaub
    This may be Favreau’s best achievement — taking a beloved film guided by Walt Disney himself and crafting something distinct and memorable.
    • 76 Metascore
    • 75 Peter Hartlaub
    Tribe superfan Rapaport doesn't fawn, but he juggles too much, and the ending feels pat. It's still an outstanding effort, and one of the more honest band biopics in recent years.
    • 76 Metascore
    • 75 Peter Hartlaub
    It's all very foul, and completely entertaining.
    • 76 Metascore
    • 75 Peter Hartlaub
    It is by far the sharpest-looking DreamWorks Animation film to date.
    • 76 Metascore
    • 75 Peter Hartlaub
    Very entertaining.
    • 75 Metascore
    • 75 Peter Hartlaub
    A documentary that is often told in adages, riddles and poetry.
    • 75 Metascore
    • 75 Peter Hartlaub
    The ego trips and sexuality and driving are all filmed with equal intensity, to the point where the emotions and flesh and crunched metal seem to blend together. The movie's only major problem is that the tension sometimes overwhelms.
    • 75 Metascore
    • 75 Peter Hartlaub
    The filmmakers investigate, but can't answer every tough question. There are so many people who could be potentially taking advantage of these players, it's hard to sort out the wrongdoers.
    • 75 Metascore
    • 75 Peter Hartlaub
    It wonderfully explains elements of life with autism, offering a primer for the uninitiated, while profiling a family that was rewarded for its willingness to approach an obstacle with patience and love.
    • 74 Metascore
    • 75 Peter Hartlaub
    The documentary “Amy” left viewers feeling a little shame, as if the audience and society was an accessory in Winehouse’s death. Janis: Little Girl Blue is a more clinical treatment, with more complicated messages.
    • 74 Metascore
    • 75 Peter Hartlaub
    For a movie that takes place mostly in the bowels of a sewer, Flushed Away has some surprisingly charming moments.
    • 74 Metascore
    • 100 Peter Hartlaub
    As challenging as it must have been to pilot Joss Whedon's space opera from the TV junk pile to the big screen, the finished product is a triumph.
    • 74 Metascore
    • 100 Peter Hartlaub
    The studio made a great film.
    • 74 Metascore
    • 75 Peter Hartlaub
    Bridge to Terabithia is a good movie, but it could become truly great with a director's cut that leaves the fantastic elements a little more vague.
    • 74 Metascore
    • 75 Peter Hartlaub
    The end result is an interesting documentary that is as unpolished and gutsy as the championship-caliber high school hoop stars at the other end of his camera.
    • 74 Metascore
    • 75 Peter Hartlaub
    It's clear by the end that one Ruth Gruber is worth more than 100 pundits fighting about partisan politics.
    • 74 Metascore
    • 75 Peter Hartlaub
    It's difficult to remember a recent movie that soared so high, before plummeting with a series of bad story choices. But the end result is still a strong piece of cinema, a failure only if you dwell on what might have been.
    • 74 Metascore
    • 75 Peter Hartlaub
    Half of one song is performed with a speck of saliva on the camera. More casual fans will twist in their chairs uncomfortably, wishing that a roadie would walk up and wipe it off. Neil Young die-hards will cherish the spittle.
    • 73 Metascore
    • 75 Peter Hartlaub
    The visual style and lethargic pace can be frustrating -- at least if you're sober -- but the animated tragedy is still a success.
    • 73 Metascore
    • 75 Peter Hartlaub
    This isn't just a good throwback satanic thriller - it looks as if it was made during the era of satanist paranoia.
    • 73 Metascore
    • 75 Peter Hartlaub
    It’s not a sin to tell a one-sided story, Hoover seems to be arguing, when there is no other side.
    • 73 Metascore
    • 75 Peter Hartlaub
    Rocket Science has the makings of either a tragedy or a crowd-pleasing underdog story, but writer-director Jeffrey Blitz instead takes the movie on a different, and ultimately more rewarding, direction.
    • 73 Metascore
    • 75 Peter Hartlaub
    A love story that gets the single male culture down so honestly and unapologetically that it can't help but push the boundaries of political correctness.
    • 72 Metascore
    • 75 Peter Hartlaub
    Now in middle age, members of N.W.A. no longer believe all of the hype. They’re in an introspective space, to the great benefit of this film.
    • 72 Metascore
    • 100 Peter Hartlaub
    By the time the ride is over, director Drew Goddard and co-writers Goddard and Joss Whedon will change course three or four times, nodding and winking but never losing momentum.
    • 72 Metascore
    • 75 Peter Hartlaub
    More than just culinary recommendations, he provides a cultural guide to the Los Angeles that is almost never seen in movies — and then the film makes an argument that Gold’s L.A. is more relevant than the one we all know.
    • 72 Metascore
    • 75 Peter Hartlaub
    It's funny, clever and marginally educational.
    • 72 Metascore
    • 75 Peter Hartlaub
    If you were ever wondering what "Die Hard" would have been like if Neil LaBute directed it as an art film, prepare to enjoy Lovers of Hate.
    • 72 Metascore
    • 75 Peter Hartlaub
    What Dunham lacks in polish, she makes up for in her ability to observe her generation, with the hardest truths coming at her own expense.
    • 72 Metascore
    • 75 Peter Hartlaub
    Presents an almost fawning portrait of the doctor-turned-surfer.

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