Stephen Hunter
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For 914 reviews, this critic has graded:
  • 48% higher than the average critic
  • 1% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 2.4 points lower than other critics. (0-100 point scale)

Stephen Hunter's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Election
Lowest review score: 0 3000 Miles to Graceland
Score distribution:
914 movie reviews
    • 74 Metascore
    • 90 Stephen Hunter
    In the end, we're about a third of the way through the great Khan's life; he hasn't even begun to take down the cities of Cathay or spread his seed. That suggests two sequels. I, for one, can't wait.
    • 82 Metascore
    • 90 Stephen Hunter
    As an example of the art of casting, the movie is brilliantly engineered. It allows two major stars to each play the showy villain for a time, and also for each to do an imitation of the other.
    • 75 Metascore
    • 90 Stephen Hunter
    A stunner -- as big and messy as a war, as small and perfect as a diamond.
    • 48 Metascore
    • 90 Stephen Hunter
    The film is a strictly no-bull proposition.
    • 75 Metascore
    • 90 Stephen Hunter
    What a good movie. Sometimes you get tired of 'splaining and you just want to say: Hey, this one's really very good. That's all, folks. It's a damn good movie.
    • 75 Metascore
    • 90 Stephen Hunter
    Well told, handsome, stirring and loads of fun.
    • 69 Metascore
    • 90 Stephen Hunter
    The movie's stroke of sheer genius is its wondrous ending.
    • 73 Metascore
    • 90 Stephen Hunter
    An exuberance, a celebration, a hoot, a kick and a half.
    • 74 Metascore
    • 90 Stephen Hunter
    Brilliantly played by Denzel Washington
    • 77 Metascore
    • 90 Stephen Hunter
    Water, set in 1930s India, is something pretty rare in the world of movies: an artistic muckraker. It is superb and strange at once, a discreet and self-disciplined attack dog of a movie.
    • 67 Metascore
    • 90 Stephen Hunter
    Friendship matters to those of us who still claim membership in the human race, and Goldbacher's merciless autopsy on it is both illuminating and dispiriting.
    • 62 Metascore
    • 90 Stephen Hunter
    Puerile, pitiful, grotesque, offensive, immature, repulsive and, of course, extremely funny.
    • 63 Metascore
    • 90 Stephen Hunter
    It's a highly professional project complete with exquisite production details and superb actors, yet its subject matter is so far out of the mainstream, it feels almost radical.
    • 94 Metascore
    • 90 Stephen Hunter
    Then, finally, there are the endings, all six of them...For us outsiders, it seems like too much of a good thing...But all those are minor rants: The big fact is that The Return of the King puts you there at Waterloo, or Thermopylae or the Bulge, any desperate place where men ran low on blood and iron and ammo, but not on courage.
    • 57 Metascore
    • 90 Stephen Hunter
    The creepiest, clammiest, twitchiest squealfest in months. It offers, among its many pleasures, the happiness of safe fear.
    • 66 Metascore
    • 90 Stephen Hunter
    Mamet loves two things: scams and dialogue. This movie is rich with both.
    • 70 Metascore
    • 90 Stephen Hunter
    The tension is never crushing, as it would be in an American job. Instead, it grows by increments, until you realize the movie, in its quiet way, has you snared entirely.
    • 72 Metascore
    • 90 Stephen Hunter
    It's funny and human and really pretty damned wonderful, all at once.
    • Washington Post
    • 86 Metascore
    • 90 Stephen Hunter
    It's a classic story in form, and in this country it used to star Jimmy Cagney.
    • 74 Metascore
    • 90 Stephen Hunter
    It conforms to that twisted French genius's typical opus: grisly, ironic but minuscule and sordid.
    • 70 Metascore
    • 90 Stephen Hunter
    The movie itself is a miracle: tough, smart, relentless, provocative and, above all, serious.
    • 76 Metascore
    • 90 Stephen Hunter
    It has the aspirations of an epic of crime and punishment, a superb feel for time and milieu, and an almost subliminal feel for myth.
    • 76 Metascore
    • 90 Stephen Hunter
    The director isn't much on orgies; he's all talk. But that's good, not bad, because his talk is so brilliant. Stillman is the Balzac of the ironic class, the Dickens of people with too much inner life.
    • 70 Metascore
    • 90 Stephen Hunter
    The movie is -- how can I say this? -- funny as hell. It's like an old Mad magazine "Scenes We'd Like to See" put together by someone on crystal meth, with a vicious streak, an existentialist streak and no mercy anywhere in his soul and only the tiniest flinch at the end, which is probably, sigh, the best way to end.
    • 71 Metascore
    • 90 Stephen Hunter
    The best kind of genre filmmaking: It plays by the rules, obeys the traditions and is both familiar and fresh at once.
    • 66 Metascore
    • 90 Stephen Hunter
    Sumptuous, warm, continually amazing, it's a completely enjoyable couple of hours at the flickers.
    • 78 Metascore
    • 90 Stephen Hunter
    One of the year's best films.
    • 84 Metascore
    • 90 Stephen Hunter
    He gives these characters the time to develop, to display their nuances, to establish their relationships with each other, to talk out their destinies.
    • 58 Metascore
    • 90 Stephen Hunter
    Huge, sprawling, and utterly absorbing.
    • 78 Metascore
    • 90 Stephen Hunter
    Genuine, amusing and, best of all, humanly scaled and humanely oriented.

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