For 18 reviews, this critic has graded:
  • 61% higher than the average critic
  • 0% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 6.3 points higher than other critics. (0-100 point scale)

Ted Mahar's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Vincent & Theo
Lowest review score: 25 Universal Soldier
Score distribution:
  1. Positive: 13 out of 18
  2. Negative: 2 out of 18
18 movie reviews
    • 65 Metascore
    • 100 Ted Mahar
    The film is uncommonly evocative. [19 Dec 1990, p.D6]
    • Portland Oregonian
    • 69 Metascore
    • 88 Ted Mahar
    Richard Linklater's ingenious social comedy is a tour de force, at least in a minor way. [25 Oct. 1991, p.19]
    • Portland Oregonian
    • 84 Metascore
    • 88 Ted Mahar
    The characters and their situations, while perfectly credible and funny on the simplest literal level, surely add up to something like a subtly farcical apocalyptic satire. [18 April 1989, p.D4]
    • Portland Oregonian
    • 88 Metascore
    • 88 Ted Mahar
    The plot's very sparsity gives "Life" its own special suspense. It is rarely possible to guess where the film will be in the next 10 minutes, yet nothing in it is improbable. That is another reason why the upbeat finale works. For all of the film's quirks and absurdity, it never strains credulity. [27 Dec. 1991, p.13]
    • Portland Oregonian
    • 76 Metascore
    • 75 Ted Mahar
    Viewers engulfed by the movie's intense romance and spectacular action could leave the theater exhausted. But it's a good ride: The Last of the Mohicans creates its own vibrant world, hurling audiences into it and allowing no relief from the excitement until the end. [25 Sep 1992, p.13]
    • Portland Oregonian
    • 50 Metascore
    • 75 Ted Mahar
    Those who don't go for horror films, period, won't go for this, but those who do will find this one of the more intelligent, better produced outings of late, with a good, continuing stream of sarcastic humor. [30 Oct 1987, p. E13]
    • Portland Oregonian
    • 53 Metascore
    • 75 Ted Mahar
    One of the most important things about Baby Boom, aside from being amusing all the way through, is that Diane Keaton gets her first chance to carry a comedy all by herself. [28 Oct 1987, p.E06]
    • Portland Oregonian
    • 65 Metascore
    • 75 Ted Mahar
    Directed and co-written by Ron Underwood, Tremors maintains a good, steady tongue-in-cheek tone while working nicely as a suspense thriller. [22 Jan 1990, p.D5]
    • Portland Oregonian
    • 65 Metascore
    • 63 Ted Mahar
    Like "Trek V," this would be merely an interesting episode on a TV series, but it would move faster. On the big screen, even with the snazzy ship, credibly sized crew and good special effects, it plods in spots. [6 Dec. 1991, p.15]
    • Portland Oregonian
    • 50 Metascore
    • 63 Ted Mahar
    Always has the benefit of likable characters and actors. Dreyfuss, Hunter and Goodman are good. But several scenes seem needlessly slow, and the film as a whole would be better if it had been pared down from 120 to 90 minutes. At times it seems the title and the running time are one and the same. [22 Dec. 1989, p.R13]
    • Portland Oregonian
    • 52 Metascore
    • 63 Ted Mahar
    Hook is full of funny and engaging moments, but they are separated by too many moments that are neither. It should have been written to be shorter, perhaps a brisk 90 minutes instead of the 135-minute behemoth it is now. [13 Dec. 1991, p.AE08]
    • Portland Oregonian
    • 45 Metascore
    • 63 Ted Mahar
    While the whole film is well-made, it has surprisingly few surprises. There are some small ones, but the plot and many details are predictable down to small details. [7 Oct 1988, p.F13]
    • Portland Oregonian
    • 67 Metascore
    • 63 Ted Mahar
    it feels as if it is going extra innings, due partly to a present day prologue and epilogue. But the banter stays lively, humor never slumps.
    • Portland Oregonian
    • 27 Metascore
    • 50 Ted Mahar
    Problem Child has moments, or perhaps instants, of misanthropic satire. There also are stroboscopically brief flashes of psychological irony or cleverness. [30 July 1990, p.D8]
    • Portland Oregonian
    • 63 Metascore
    • 50 Ted Mahar
    Shrunk is a sometimes funny, occasionally clever comedy adventure. But the fun stuff consumes only about one-fourth of the film, nowhere near enough for a feature-length movie. [24 June 1989, p.C06]
    • Portland Oregonian
    • 51 Metascore
    • 50 Ted Mahar
    For all the film's patness and lame predictability, Candy gives it a strange charm. He seems to be inherently funny, and his subtle weirdness, so useful on SCTV, is handy here as well. It helps make seeing Uncle Buck marginally worthwhile. [18 Aug 1989, p.E13]
    • Portland Oregonian
    • 33 Metascore
    • 38 Ted Mahar
    Kickboxer is a film for the truly undiscriminating. It exists for one reason, to display the physique and kickboxing style of Jean-Claude Van Damme. Compared to Van Damme, Sylvester Stallone is Laurence Olivier and Chuck Norris is John Malkovich. [13 Sep 1989, p.C05]
    • Portland Oregonian
    • 35 Metascore
    • 25 Ted Mahar
    Universal Soldier is another goony banquet of violence composed almost entirely of leftovers. It's a Frankenstein-monster of a movie with parts of a dozen or more films stitched and stapled together to make one lurching melodrama. [11 July 1992, C10]
    • Portland Oregonian

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