Andrew Barker

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For 212 reviews, this critic has graded:
  • 40% higher than the average critic
  • 8% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 9.6 points lower than other critics. (0-100 point scale)

Andrew Barker's Scores

  • Movies
  • TV
Average review score: 55
Highest review score: 100 Never Rarely Sometimes Always
Lowest review score: 0 Mother's Day
Score distribution:
  1. Positive: 73 out of 212
  2. Negative: 33 out of 212
212 movie reviews
    • 40 Metascore
    • 30 Andrew Barker
    Cahill gets so bogged down in hair-splitting rules and exposition that he loses track of the bigger themes.
    • 35 Metascore
    • 30 Andrew Barker
    Centered on characters who act without much in the way of logic, with much of its dialogue confined to clipped bursts of unsatisfying Hemingwayisms, “Dirt Music” is a fine-looking romance that never finds the right key.
    • 37 Metascore
    • 30 Andrew Barker
    Serenity sees a usually reliable screenwriter-turned-director take a bold swing and miss the mark completely, so intent on pulling the rug out from under you that he never notices you weren’t even standing on it.
    • 29 Metascore
    • 30 Andrew Barker
    As a onetime Girl Scout den mother turned brass-knuckled avenging angel, Garner gives everything that is asked of her, from brute physicality to dewy-eyed tenderness, but this half-witted calamity botches just about everything else. Drably by-the-numbers except for the moments where it goes gobsmackingly off-the-rails, Peppermint misfires from start to finish.
    • 27 Metascore
    • 20 Andrew Barker
    It should come as no surprise that “Happytime” comes up farcically short as a metaphor for racism. But its most fatal miscalculation is the decision to frontload so many of its crassest setpieces into the first 15 or 20 minutes, depriving the rest of the film of the shock value that is its entire raison d’etre.
    • 34 Metascore
    • 30 Andrew Barker
    In the end, it can never decide what kind of film it wants to be, drifting into drab formlessness when it needs to find moments of poetry, and reverting to dull clichés when it wants to indulge its thriller instincts, winding up as frosty and uninviting as its setting.
    • 42 Metascore
    • 30 Andrew Barker
    Coasting for as long as it can on the considerable charms of its star, Breaking In is otherwise a work of profound half-assedness, running through the paces of its bare-bones framework with all the verve, energy and invention of a night-watchman winding down the last hour of his shift.
    • 35 Metascore
    • 30 Andrew Barker
    The Hurricane Heist is...a perfect storm of deliriously watchable inanity and ineptitude. It may be a strong early candidate for the worst movie of 2018, but don’t let that deter you – bad movies this fun don’t come along every day.
    • 30 Metascore
    • 20 Andrew Barker
    Dull, flavorless, and fundamentally incurious, “The Outsider” is a clueless misfire, the cinematic equivalent of a study-abroad student showing off the kanji forearm tattoo whose meaning he never bothered to learn.
    • 18 Metascore
    • 0 Andrew Barker
    Atrociously written, begrudgingly acted, haphazardly assembled and never more backward than when it thinks it’s being progressive.
    • 37 Metascore
    • 30 Andrew Barker
    An almost bizarrely limp, emotionless, blank greeting card of a movie, this purported romantic comedy-drama contains little of the three, at best serving as a sort of extended L.L. Bean advertisement, full of fabulously shot footage of Eastern Canadian vistas and the well-dressed rustic yuppies who live there.
    • 36 Metascore
    • 30 Andrew Barker
    Struggling to generate much tension, the film opts for sensory battery in the action scenes, rendering gunshots as loud as cannon fire and splashing blood every which way.
    • 26 Metascore
    • 20 Andrew Barker
    Director Ross Katz’s The Choice, which mimics “The Notebook” in everything but meaningful conflict, believable characters, style and emotional honesty, is a very unsuccessful story.
    • 33 Metascore
    • 30 Andrew Barker
    A mostly harmless yet plenty rough assemblage of musical numbers and rote chases that barely add up to a movie.
    • 30 Metascore
    • 30 Andrew Barker
    There may well be new and novel ways to spark audience shivers from not-so-bright homeowners inexplicably using their cameraphones to check out bumps in the night, but this series clearly has neither the patience nor the inclination to look for them anymore.
    • 29 Metascore
    • 20 Andrew Barker
    Laughs are few, attempts at feel-good catharsis fizzle out limply, and all of Murray’s most elaborate performance setpieces — especially his endless rendition of “Smoke on the Water” for tribal elders — fall embarrassingly flat.
    • 23 Metascore
    • 10 Andrew Barker
    This somnolent supernatural thriller is a low-energy wash from start to finish.
    • 16 Metascore
    • 30 Andrew Barker
    [A] misbegotten mess.
    • 32 Metascore
    • 30 Andrew Barker
    A retread of such brainless, shameless lameness that it’s hard to imagine anyone begging for another installment.
    • 31 Metascore
    • 30 Andrew Barker
    A few mildly tone-deaf jokes are hardly enough to sink Hot Pursuit. What does, however, is its tendency to belabor the laziest, most obvious gags beyond the point of reason.
    • tbd Metascore
    • 30 Andrew Barker
    It’s easy to see a skewed argument in the making.
    • 30 Metascore
    • 30 Andrew Barker
    The film’s initial formulaic competence gives way to outright preposterousness rather quickly, hinging on idiot-plot character motivations.
    • 12 Metascore
    • 10 Andrew Barker
    With a “Sharknado”-inspired visual style and a deeply weary lead performance from Nicolas Cage, Left Behind is cheap-looking, overwrought kitsch of the most unintentionally hilarious order.
    • 23 Metascore
    • 20 Andrew Barker
    The result is a slow-motion zeppelin crash that starts as a dull-edged fable, and then spirals further and further out of control without ever growing more exciting or interesting.
    • 18 Metascore
    • 10 Andrew Barker
    [A] ruthlessly unfunny misfire.
    • 19 Metascore
    • 30 Andrew Barker
    The action sequences are competently directed, but exhibit virtually no flair or invention.
    • 38 Metascore
    • 30 Andrew Barker
    Runs through spy-movie cliches with such dogged obligation that it often plays like a YouTube compilation of scenes from older, better thrillers, generating little overall tension and only occasionally approaching basic coherence.
    • 30 Metascore
    • 30 Andrew Barker
    A splashy-looking yet depressingly empty exercise that is never more shallow than the times when it tries to go deep.
    • 25 Metascore
    • 30 Andrew Barker
    The film manages to be an often uncomfortable experience without fully embracing its own bad taste, starting with an inherently insane premise and somehow steering it through the most basic of romantic comedy paces.
    • 30 Metascore
    • 10 Andrew Barker
    Utterly witless, listless, sparkless and senseless, this supernatural actioner makes one long for the comparative sophistication of the conceptually identical “Underworld” franchise (with which it shares producers and a writer).

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