Peter Hartlaub

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For 435 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 Tropic Thunder
Lowest review score: 0 The Smurfs 2
Score distribution:
435 movie reviews
    • 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.
    • 81 Metascore
    • 75 Peter Hartlaub
    Plays like two films in one, and succeeds on both levels.
    • 64 Metascore
    • 75 Peter Hartlaub
    Robots never stays in the same gear for long, and the abrupt shifts in tone kill the movie's chances of becoming a classic.
    • 61 Metascore
    • 75 Peter Hartlaub
    Enemy is what might happen if someone let Terrence Malick make a "Twilight Zone" episode, with a quick rewrite by David Cronenberg.
    • 86 Metascore
    • 75 Peter Hartlaub
    Ernest & Celestine builds a delicate and charming animated world, but you wouldn't want to live there.
    • 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.
    • 64 Metascore
    • 75 Peter Hartlaub
    Most of the time, the movie is appropriately gritty and plenty engaging.
    • 64 Metascore
    • 75 Peter Hartlaub
    Produced by "Lost" and "Alias" mastermind J.J. Abrams, Cloverfield has been one of the more interesting experiments in large-scale guerrilla filmmaking.
    • 59 Metascore
    • 75 Peter Hartlaub
    While the sequel to "Night Watch" is an imperfect film, it's always interesting.
    • 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.
    • 58 Metascore
    • 75 Peter Hartlaub
    When Danny takes off his collar for the last time, Besson's plan becomes clear: You may have paid for an hour and a half of escapist entertainment, but he just provided something much better.
    • 78 Metascore
    • 75 Peter Hartlaub
    The biggest sin of 28 Weeks Later is that it's not in the same league as the near-perfect movie that came before it.
    • 43 Metascore
    • 75 Peter Hartlaub
    Rough around the edges, but once you get used to the laconic pace, the plot grooves along nicely.
    • 64 Metascore
    • 75 Peter Hartlaub
    It's an achingly beautiful movie and a triumph of location scouting, with more cosmopolitan spectacle than the past three Indiana Jones and James Bond movies combined.
    • 69 Metascore
    • 75 Peter Hartlaub
    This film is even better if you come in with no spoilers and low expectations.
    • 53 Metascore
    • 75 Peter Hartlaub
    Much of the honest dialogue has the same feel as John Hughes' and Cameron Crowe's movies during their best years, while there's a half-serious hipness that recalls the first eight episodes of "The O.C."
    • 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
    • 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.
    • 64 Metascore
    • 75 Peter Hartlaub
    It's a funny, mostly harmless and entertaining film with a bad case of dry mouth.
    • 47 Metascore
    • 75 Peter Hartlaub
    If you can lighten up for an hour and a half, the film delivers one good laugh after another.
    • 56 Metascore
    • 75 Peter Hartlaub
    If you can get past the ridiculousness of the setup - easy to do, because the posters make it clear this isn't a Woody Allen movie - it's pretty much impossible not to have fun.
    • 67 Metascore
    • 75 Peter Hartlaub
    Kill List has a slow build, but don't be lulled into complacency. This is one of the most violent and disturbing films you'll see in an art house.
    • 47 Metascore
    • 75 Peter Hartlaub
    A thoroughly enjoyable three-or four-gimmick comedy.
    • 57 Metascore
    • 75 Peter Hartlaub
    Even with its thrifty set pieces and smaller ambitions, this attempt to reboot the series based on Tom Clancy characters does the most important thing right: It almost always feels like a Jack Ryan movie.
    • 42 Metascore
    • 75 Peter Hartlaub
    The remake of The Last House on the Left breaks the template, taking the 1972 original into an interesting new direction, with bold camera angles, good actors and a script that heaps on just as much character development as carnage.
    • 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.
    • 62 Metascore
    • 75 Peter Hartlaub
    Never very frightening, but it's clever and fun, with a memorable amount of humor and gore.
    • 66 Metascore
    • 75 Peter Hartlaub
    The visuals are excellent, featuring a refreshingly small dose of forced cuteness, and plenty of the animals' natural movements.
    • 72 Metascore
    • 75 Peter Hartlaub
    The scope of the film can be frustratingly narrow. But even this limited view into the events of the Maywand District murders is gripping cinema.
    • 71 Metascore
    • 75 Peter Hartlaub
    Favoring precision filmmaking over cheap thrills, with a vibe more Alfred Hitchcock than Freddy Krueger, Red Eye establishes two intelligent characters and lets audiences sit back and enjoy an entertaining battle of brains and wills.

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