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 2.1 points lower than other critics. (0-100 point scale)

Stephen Hunter's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Out of Sight
Lowest review score: 0 Saving Silverman
Score distribution:
914 movie reviews
    • 73 Metascore
    • 80 Stephen Hunter
    It's the latest and one of the best entries in a genre whose highest philosophical expression is the whiplash realization that the universe doesn't play fair.
    • 36 Metascore
    • 80 Stephen Hunter
    A caper film of such postmodernist pretense that it's almost a parody of itself.
    • 62 Metascore
    • 80 Stephen Hunter
    What's important is that Major Dundee, not a great movie but a great star-driven, big budget 1965 studio western, is back in all its fractured glory and confidence.
    • 73 Metascore
    • 80 Stephen Hunter
    The director Vaughn has a flair not merely for action and ambiance but also for character.
    • 68 Metascore
    • 80 Stephen Hunter
    Even the digressions are funny.
    • 70 Metascore
    • 80 Stephen Hunter
    Like the best horror movies, it doesn't beat you over the head, splatter you, or fold, spindle and mutilate you. Rather, slowly and subtly, it creeps you out. You may go home and throw out your computer and lock the doors.
    • 82 Metascore
    • 80 Stephen Hunter
    Lord God, can she take control of a scene, dominate a movie, project to the last seat, radiate power and personality unto the rafters. It's a great performance. I love the way Knightley's eyes light with furious intelligence when she cuts the pompous Darcy a new something or other.
    • 64 Metascore
    • 80 Stephen Hunter
    Frank (Ben Kingsley) meets Laurel (Tea Leoni), a woman who has been around the block a time or 200, and she likes Frank's directness, while he likes her unflappability. This is one of the greatest screwball relationships in years.
    • 60 Metascore
    • 80 Stephen Hunter
    Simple, earnest and workmanlike, it sings of Olof, glad and big, and how he lost his -- well, we can't say what he lost.
    • 70 Metascore
    • 80 Stephen Hunter
    The creation of teen-girl culture seems almost pitch-perfect. The flaw is the flaw of most works of muckraking when they are held to artistic standards: It's a question of proportion.
    • 85 Metascore
    • 80 Stephen Hunter
    In its brisk way, it's a devastating piece of work, and very brave too.
    • 67 Metascore
    • 80 Stephen Hunter
    A picture that is surely one of the oddest ever made.
    • 39 Metascore
    • 80 Stephen Hunter
    Like the best of poems, it doesn't lend itself to easy understanding. But, like the best of poems, it's extremely provocative, to both imagination and intellect.
    • 74 Metascore
    • 80 Stephen Hunter
    The moral purity of After Innocence is so overwhelming that it simply leaves you with nothing to say or do. It's kind of beyond criticism.
    • 65 Metascore
    • 80 Stephen Hunter
    It denotes a minor movie miracle: how with intelligence, imagination and craft a small film can work in really large ways.
    • 75 Metascore
    • 80 Stephen Hunter
    A portrait of a hero.
    • 83 Metascore
    • 80 Stephen Hunter
    An eensy-weensy movie sustained by two utterly gigantic performances.
    • 76 Metascore
    • 80 Stephen Hunter
    Certainly no feel-good flick of the summer. But it's always tough and honest.
    • 72 Metascore
    • 80 Stephen Hunter
    Although nowhere near the class of its equine hero, is quite a satisfying ride.
    • 57 Metascore
    • 80 Stephen Hunter
    Color Me Kubrick is like a nice, deep, clear cocktail of ammonia on the rocks: bracing, comic, astonishing, all of which hide its poison center.
    • 63 Metascore
    • 80 Stephen Hunter
    The psychological darkness that underpins this film doesn't seem inappropriate to its wit and charm, but rather amplifies it, makes it more real.
    • 79 Metascore
    • 80 Stephen Hunter
    Manufactured Landscapes makes an inelegant point elegantly. The point: Humanity is altering the landscape drastically and by implication irrevocably.
    • 75 Metascore
    • 80 Stephen Hunter
    What you get for your entertainment dollar in Lady Vengeance is Korean director Chan-wook Park's brilliantly orchestrated story of how Lee Geum-ja (Lee Young-ae ) got her groove back.
    • 59 Metascore
    • 80 Stephen Hunter
    There've been dozens of shotgun movies, most of them directed by Sam Peckinpah ("The Wild Bunch," "The Getaway") but Berg is inventive...All this, and Christopher Walken too? What more could a fella ask for?
    • 74 Metascore
    • 80 Stephen Hunter
    With its sophisticated psychology, its brilliant story structure and its riveting performances, The Duchess of Langeais feels very new, even if everything about it is old.
    • 78 Metascore
    • 80 Stephen Hunter
    Its images of the destruction of the cities is far more powerful than in American films, where the cities are trashed for the pure pleasure of destruction, without any real sense of human loss.
    • 66 Metascore
    • 80 Stephen Hunter
    So the film has this weird postmodernist taint: It has a self-aware script that cleverly plays off the reality of its own cast and their famous real-life contretemps. It's smart and knowing.
    • 64 Metascore
    • 80 Stephen Hunter
    Something fresh, clever and confident.
    • 71 Metascore
    • 80 Stephen Hunter
    It makes a great point: Love, honor and respect your father, but then get the hell out of town.
    • 79 Metascore
    • 80 Stephen Hunter
    Like the bitter cold in which it's set, Affliction bites hard and true.

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