For 296 reviews, this critic has graded:
  • 63% higher than the average critic
  • 4% same as the average critic
  • 33% lower than the average critic
On average, this critic grades 3.7 points higher than other critics. (0-100 point scale)

Peter Stack's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Fried Green Tomatoes
Lowest review score: 0 They Live
Score distribution:
  1. Negative: 34 out of 296
296 movie reviews
    • 45 Metascore
    • 50 Peter Stack
    It's the worst Carrey movie yet, but it has a handful of inspired moments in which his signature wackiness is so funny it hurts.
    • 71 Metascore
    • 75 Peter Stack
    Director Ted Demme (with a terse script by Mike Armstrong) keeps it darkly funny while exposing raw nerves in a buildup to unexpected tragedy.
    • 60 Metascore
    • 50 Peter Stack
    Viewers may feel let down because the depth promised by the movie's visual artistry is never quite delivered.
    • 65 Metascore
    • 75 Peter Stack
    By now, fans of the studied loveliness of Merchant Ivory films savor that they aren't pat, slick or especially action-packed. A Soldier's Daughter Never Cries is a fine example -- themes percolate and evolve into poignancy.
    • 15 Metascore
    • 25 Peter Stack
    It's a shame Arnold is stuck on the loudmouth clod schtick, because there are moments he's downright pleasant on screen. But in Carpool, these moments are kept to a minimum.
    • 44 Metascore
    • 25 Peter Stack
    A "nonstop thriller" that is also a nonstop dud. Underline the word "long" in the title.
    • 64 Metascore
    • 75 Peter Stack
    The richness of characters make this movie shine. It's just that, somehow, a certain sense of fire is missing.
    • 54 Metascore
    • 100 Peter Stack
    Intelligent and crackling with crisp, provocative visual energy, Copycat, the new thriller starring Sigourney Weaver and Holly Hunter, is so creepy and dangerous-feeling that it's like a knife edge pressed against the jugular.
    • 55 Metascore
    • 50 Peter Stack
    Like a coffee-table book, it looks inviting and teases you with sumptuous photography but leaves you cold.
    • 71 Metascore
    • 75 Peter Stack
    It's impossible to dismiss the attraction of such accomplished actors on the big screen, even with a fits-and-starts script.
    • 71 Metascore
    • 100 Peter Stack
    Not every moment of the film is as potent as the book (which is noted for passages of passion and impassioned eloquence), but Cry, the Beloved Country overcomes its own limitations to become a glorious tribute to the workings of a faith that does not blind but opens up the human spirit.
    • 66 Metascore
    • 75 Peter Stack
    Forgiving its moments of melodrama, Philadelphia makes emotional power punches out of every smile, embrace and tear in its story of a regular guy contracting AIDS and getting booted out of the law firm that once lifted him to glory. [14 Jan 1994, p.C1]
    • San Francisco Chronicle
    • 83 Metascore
    • 50 Peter Stack
    Infused with a dark charm that will appeal to some girls, A Little Princess, based on the classic novel by Frances Hodgson Burnett, is as near to a mannered, lushly photographed Merchant/Ivory-style film as you'll get in a kids' movie.
    • 44 Metascore
    • 50 Peter Stack
    The film is too mannered, too stuffy. Even Malkovich's interesting performance won't let it break free of a formal style and cloyingly creepy tone that becomes precious while trying to be merely claustrophobic.
    • 53 Metascore
    • 50 Peter Stack
    As a coming-of-age melodrama and high seas adventure, White Squall is fair.
    • 68 Metascore
    • 75 Peter Stack
    Jude is knockout Hardy, filled with stormy visual poetry and accompanied by a gorgeous yet simple score.
    • 73 Metascore
    • 100 Peter Stack
    One of the year's most fascinating flicks.... Brilliant performances by Jeff Daniels, Melanie Griffith and a newcomer named Ray Liotta give sparkle, and shadows, to Something Wild. [7 Nov 1986]
    • San Francisco Chronicle
    • 67 Metascore
    • 50 Peter Stack
    It's a violent yet occasionally funny film - thanks to some inventive gags that pop up - and it hits some of the same blood-splashed chords as "Terminator." [17 Jul 1987]
    • San Francisco Chronicle
    • 50 Metascore
    • 38 Peter Stack
    Subliminally speaking, you may not like this movie because it goes so far. Or, you may not like it because it stops short. Or you may like it for one of the above reasons. [21 Feb 1986, p.68]
    • San Francisco Chronicle
    • 82 Metascore
    • 50 Peter Stack
    In spite of its downbeat subjects, Drugstore Cowboy becomes a satisfying drama of redemption. [27 Oct 1989]
    • San Francisco Chronicle
    • 47 Metascore
    • 63 Peter Stack
    Every hair is in place in writer-director Lawrence Kasdan's epic-length Wyatt Earp. What's missing is a heart. Yet if this large-scale western is a bore, at least it's a beautiful one. [24 Jun 1994, p.C1]
    • San Francisco Chronicle
    • 64 Metascore
    • 63 Peter Stack
    As Westerns go, Silverado delivers elaborate gun-fighting scenes, legions of galloping horses, stampeding cattle, a box canyon, covered wagons, tons of creaking leather and even a High Noonish duel. How it manages to run the gamut of cowboy movie elements without getting smart-alecky is intriguing. But on the important issues, like real character development, Silverado flakes apart. [10 Jul 1985, p.52]
    • San Francisco Chronicle
    • 62 Metascore
    • 50 Peter Stack
    If you ask too many questions about Jacob's Ladder, you're likely to burst the bubble. For all its emotional sizzle and spit, it leaves you hanging. Yet the ride to Lyne's middle-of-nowhere is almost worth it. [2 Nov 1990, p.E1]
    • San Francisco Chronicle
    • 73 Metascore
    • 75 Peter Stack
    Children, and adults with adventurous taste in movies, will find this among the most eye-popping big-screen experiences in ages.
    • 49 Metascore
    • 50 Peter Stack
    Father of the Bride Part II is too long, completely predictable and unabashedly immersed in a posh world that is totally out of reach of most people. It's a comfort to see that riches don't keep some guys from being dithering fools when it comes to life's fundamentals.
    • 27 Metascore
    • 50 Peter Stack
    Vampire in Brooklyn is neither funny nor frightening and comes up a tedious middle-road hybrid from veteran scaremeister Wes Craven, who directed.
    • 14 Metascore
    • 38 Peter Stack
    Mixed Nuts, opening today at Bay Area movie theaters, is laced generously with chuckles, though it neglects one little detail that helps make movies satisfying: a plot. [21 Dec 1994, p.E1]
    • San Francisco Chronicle
    • 16 Metascore
    • 50 Peter Stack
    The Beverly Hills Cop formula shows serious signs of wear in its third outing as Eddie Murphy tries desperately to hold onto his tough-guy, mock-grin edge while screenwriters and director John Landis do little more than stir-fry lame gags with furious but tiresome fusilades of gunfire. [25 May 1994, p.E1]
    • San Francisco Chronicle
    • 50 Metascore
    • 50 Peter Stack
    If Hoffa is supposed to be an intimate portrait of the labor leader, it never gets much beyond painting a murky picture of a one-note Johnny who seems more like a stock Jack Nicholson character. [25 Dec 1992]
    • San Francisco Chronicle
    • 75 Metascore
    • 100 Peter Stack
    Stone's feisty, intensely personal style of film making is well-known. With Born on the Fourth of July we are treated to a poignant, spirited and captivating - for the broken heartedness of it all - performance by Tom Cruise. [25 Dec 1989, p.E1]
    • San Francisco Chronicle

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