Peter Hartlaub

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For 529 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Peter Hartlaub's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Coco
Lowest review score: 0 Silent Hill
Score distribution:
529 movie reviews
    • 56 Metascore
    • 75 Peter Hartlaub
    Timberlake is the secret weapon, making the crankiest troll also the most appealing.
    • 60 Metascore
    • 50 Peter Hartlaub
    A victory lap of a comedy film taken by a star whose talent continues to propel his career, but doesn’t seem particularly hungry.
    • 51 Metascore
    • 50 Peter Hartlaub
    It's a so-so film with jarring tone changes and a plot that sputters before a predictable ending. But there are moments of inspiration and authenticity.
    • 57 Metascore
    • 50 Peter Hartlaub
    A Burton film that mines the romantic fable elements of “Edward Scissorhands,” while pushing the disturbing limits of a film that seems to be marketed for small children, even if it isn’t really intended for them.
    • 56 Metascore
    • 75 Peter Hartlaub
    Like Phil Lord and Christopher Miller’s stellar “The Lego Movie,” the filmmakers work with the confidence that if a joke fails, the one that follows a few seconds later will redeem the scene.
    • 54 Metascore
    • 50 Peter Hartlaub
    Go in with low expectations and you might be pleasantly surprised.
    • 47 Metascore
    • 50 Peter Hartlaub
    This time, it seems as if there’s a little less magic in the woods.
    • 58 Metascore
    • 100 Peter Hartlaub
    Moviegoers will love or hate Oliver Stone and his politics until the end of time. With well-made movies such as Snowden, though, his skill as a filmmaker becomes much harder for the detractors to debate.
    • 74 Metascore
    • 75 Peter Hartlaub
    In the end, Sully is a broadly crowd-pleasing movie, at a time when we could use the straight-forward entertainment.
    • 60 Metascore
    • 75 Peter Hartlaub
    As much as Fassbender, Vikander and Rachel Weisz, the feelings of isolation, despair and self-reproach deserve top billing in The Light Between Oceans.
    • 48 Metascore
    • 50 Peter Hartlaub
    The film tries to split the difference between thoughtful science fiction and action-driven horror, and blows the chance to truly succeed at either. Morgan is an enjoyable enough experience in the moment, but it never quite coalesces.
    • 54 Metascore
    • 50 Peter Hartlaub
    A film that can’t decide whether it wants to be “Raging Bull” or “Remember the Titans.” In the end, it’s a little too much of both.
    • 57 Metascore
    • 50 Peter Hartlaub
    A solid piece of in-the-moment entertainment that fails in its attempt to be something more.
    • 71 Metascore
    • 75 Peter Hartlaub
    There should be more American family movies like Pete’s Dragon. Since there aren’t, we should get behind this one.
    • 83 Metascore
    • 75 Peter Hartlaub
    A film that is at its best onstage.
    • 34 Metascore
    • 25 Peter Hartlaub
    The Ice Age screenwriters seem to be making up the rules as they go along, distracted by tired side plots to give the other characters a reason to exist in the film.
    • 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.
    • 61 Metascore
    • 75 Peter Hartlaub
    Laughs are laughs, whether you know some of the punch lines ahead of time or not. And The Secret Life of Pets has plenty of laughs.
    • 55 Metascore
    • 50 Peter Hartlaub
    There’s not a lot of nuance or sense in the third “Purge” movie. But it still manages to coast on a combination of self-awareness, crowd-pleasing carnage and a plot that ties perfectly into current events.
    • 32 Metascore
    • 25 Peter Hartlaub
    The sequel is even more silly, and much less fun.
    • 59 Metascore
    • 50 Peter Hartlaub
    The Shallows is a very earnest woman-versus-shark film. It delivers the requisite thrills, including a surprisingly satisfying resolution. The heroine is capable; and the writers, who trap her on a rock for half the film, find ways to make her situation seem interesting. But the most important parts, the ones involving the shark, don’t feel genuine.
    • 52 Metascore
    • 50 Peter Hartlaub
    It’s straightforward, it’s pretty funny and it stars two good actors who seem to be trying really hard to leave audiences satisfied.
    • 77 Metascore
    • 100 Peter Hartlaub
    The sequel is filled with crowd-pleasing action, adventure and characters — sometimes too many characters. But it rises above its crowded narrative with an intense emotional core, taking a protagonist whose affliction had been played mostly for comedy, and exploring the emptiness and loneliness of her plight.
    • 65 Metascore
    • 75 Peter Hartlaub
    This isn’t just a good horror film. It’s a good film, which just happens to fall in the horror genre.
    • 32 Metascore
    • 50 Peter Hartlaub
    The dialogue is so earnest that its lack of humor becomes a source of humor in itself. The acting is so primal that you’ll swear a porn sequence is about to break out.
    • 40 Metascore
    • 25 Peter Hartlaub
    There are isolated moments of humor, and even charm. The visual effects are at times outstanding. But these positives are overwhelmed by the uninspired whole.
    • 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.
    • 63 Metascore
    • 75 Peter Hartlaub
    It gives fans what they want, while also working most of the time as pulse-pounding escapism. Even though he has almost nothing to do with the actual movie, the spirit of a “Speed”-era Keanu Reeves is present throughout.
    • 79 Metascore
    • 75 Peter Hartlaub
    The cinematography and direction are particularly compelling; the complicated sequences on the tight sets must have forced camera operators to play cinematic Twister in impossibly small corners.
    • 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.

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