For 28 reviews, this critic has graded:
  • 10% higher than the average critic
  • 3% same as the average critic
  • 87% lower than the average critic
On average, this critic grades 15.5 points lower than other critics. (0-100 point scale)

Tomas Hachard's Scores

  • Movies
Average review score: 44
Highest review score: 88 Augustine
Lowest review score: 0 Persecuted
Score distribution:
  1. Positive: 11 out of 28
  2. Negative: 13 out of 28
28 movie reviews
    • 74 Metascore
    • 88 Tomas Hachard
    Alice Winocour's take on this true story carries the superficial trappings of a period drama, but its perspective is entirely contemporary.
    • 75 Metascore
    • 88 Tomas Hachard
    What Omar best portrays are the limitations that result from having an occupation, and the fight to overthrow it, dominate a person's entire life.
    • 83 Metascore
    • 75 Tomas Hachard
    This joyous documentary leaves us wanting to immediately seek out the incredible, sometimes unfamiliar music we've just heard.
    • 76 Metascore
    • 75 Tomas Hachard
    Ably leads us through its extensive investigation, faltering only when the camera lingers on Jeremy Scahill for a touch too long at the expense of his interview subjects.
    • 77 Metascore
    • 75 Tomas Hachard
    A delicate documentary about a way of life that's slowly disappearing, yet gives way to nothing new.
    • 74 Metascore
    • 75 Tomas Hachard
    Director Shaul Schwarz, sans judgment, presents us with two men who epitomize how accepted and engrained narco culture has become in Mexico.
    • 74 Metascore
    • 63 Tomas Hachard
    The film is most interesting as an articulation of how its main character's initial status as an emblem of inter-religious understanding quickly dissolves following a suicide bombing.
    • 59 Metascore
    • 63 Tomas Hachard
    The emotional and political point through all this isn't to be taken lightly, but because the entirety of the film has such a nihilistic temperament, its effect is muted.
    • 72 Metascore
    • 63 Tomas Hachard
    Our Nixon never completely overcomes the disappointment of its recovered video, but it nevertheless offers a compelling portrait of Nixon and those close to him, one that captures how willfully blind they often were to their excesses, and how paranoid they were about apparent threats to them and America as a whole.
    • 74 Metascore
    • 63 Tomas Hachard
    It seems too enamored with the seductive notion of an honorable criminal, too ready to take Bulger's justifications as actual indications of his relative innocence.
    • 67 Metascore
    • 50 Tomas Hachard
    We may find out how Gedeck's character reacts to her isolation, but we're never privy to her actual feelings, largely because in a film about a sudden onset of solitude, Pölsler is far too afraid of silence.
    • 49 Metascore
    • 50 Tomas Hachard
    Claude Miller's swan song not only shares its main character's name but also her tempered disposition.
    • 57 Metascore
    • 50 Tomas Hachard
    Its self-seriousness never allows it to become the realist counterpoint to Aki Kaurismäki's tragicomic approach in Le Havre that one initially hopes it will be.
    • 64 Metascore
    • 50 Tomas Hachard
    The film is concerned largely with intellectual horrors and portrays the fight against slavery rather neatly as a growing feeling of internal guilt that slowly turns society toward the light.
    • 60 Metascore
    • 38 Tomas Hachard
    Michael Shannon has no interior to play with, since the film seems intent on ridding Richie of any emotion other than love for his family, and also no catharsis to build toward.
    • 36 Metascore
    • 25 Tomas Hachard
    While it tries to relate a story about the sloppiness of life, the way best-laid plans can go wrong in an instant, its script is neatly and tidily structured.
    • 30 Metascore
    • 25 Tomas Hachard
    As the film moves from one musical performance to another, the result increasingly feels like a series of celebrity impersonations set to a best-of-punk compilation album.
    • 55 Metascore
    • 25 Tomas Hachard
    The film's fealty to history is both unnecessary and a hindrance, pulling us out of a story that could have easily been set in an anonymous city hit by a nondescript hurricane.
    • 40 Metascore
    • 25 Tomas Hachard
    What's missing, in the end, is any provocative or poignant insights into the "truth" about Emanuel; all we get are vague hints.
    • 61 Metascore
    • 25 Tomas Hachard
    It becomes clear pretty quickly that Mike and Carlos Boettcher's insider perspective allows for close to no context beyond what their cameras directly capture.
    • 35 Metascore
    • 12 Tomas Hachard
    The obstacles that the Kelly brothers encounter are as uninspired as the film's treacly lessons about brotherhood and staying true to one's principles.
    • 33 Metascore
    • 12 Tomas Hachard
    It's a testament to Bruce Greenwood's acting that Adan never becomes entirely as insufferable as the words that come out of his mouth.
    • 49 Metascore
    • 12 Tomas Hachard
    Jill Soloway's film is dishonest in the way it attempts to mask self-pity as enlightened self-criticism.
    • 39 Metascore
    • 12 Tomas Hachard
    It misfires in tone, depth, and political tact, dumbing down rather than providing new insights into the Israel-Palestine conflict.
    • 31 Metascore
    • 12 Tomas Hachard
    The female characters on Mad Men are probably the show's strongest asset, but here they're hollow to the point of insult.
    • 37 Metascore
    • 12 Tomas Hachard
    Tze Chun's film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
    • 11 Metascore
    • 0 Tomas Hachard
    There's no attempt to convince us that the world is being corrupted by people who haven't accepted the Gospel; it merely assumes we agree with that idea.