For 214 reviews, this critic has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this critic grades 2.9 points higher than other critics. (0-100 point scale)

Barry Hertz's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 First Man
Lowest review score: 0 Independence Day: Resurgence
Score distribution:
  1. Negative: 38 out of 214
214 movie reviews
    • 81 Metascore
    • 75 Barry Hertz
    Cedergren excels at balancing Asger’s cynical cool with his desire to help (or perhaps simply help himself), and the entire endeavour will leave you with a new-found respect for 911 operators.
    • 58 Metascore
    • 63 Barry Hertz
    Most of all, though, it comes off as unsure, even afraid, of just what it wants to say about America today, resulting in a sometimes amusing, sometimes stilted lecture that indicts everyone, and no one.
    • 72 Metascore
    • 63 Barry Hertz
    Touching, if by-the-books, documentary.
    • 37 Metascore
    • 50 Barry Hertz
    A rags-to-riches tale that is inspirational in the most sentimental and predictable of fashions, Bigger squanders most of the potential that comes with dissecting such an underexplored world as the nascent body-building industry. At least he nails the casting, with the intimidatingly fit Tyler Hoechlin and Aneurin Barnard as the Weider brothers, the charismatic Julianne Hough as Joe’s wife.
    • 70 Metascore
    • 75 Barry Hertz
    All About Nina is a compelling, honest and occasionally messy middle finger to the expectations placed on female entertainers – or just simply women at all.
    • 63 Metascore
    • 63 Barry Hertz
    It makes for intriguing and often gripping viewing, but delivers a more confounding experience than is necessary. Still, the director knows how to break those bones real good.
    • 67 Metascore
    • 75 Barry Hertz
    Its mystery elements are infused with a uniquely Feig-ian sensibility, equal parts broad comedy and ironic winks. The genre-meld shouldn’t work as well as it does, but Feig wrangles all the disparate elements under his control.
    • 63 Metascore
    • 50 Barry Hertz
    There is a strange emotional detachment to Felix van Groeningen’s adaptation, which renders the tale needlessly cold.
    • 96 Metascore
    • 100 Barry Hertz
    A majestic feat of filmmaking, an intimate portrait of a family that also serves as a broad portrait of a changing nation.
    • 81 Metascore
    • 88 Barry Hertz
    Mandy is, if it’s not clear yet, not for everyone. But for those who think nothing of staying up past midnight to devour the strange and fantastic, it hits the sweetest of spots.
    • 83 Metascore
    • 75 Barry Hertz
    The director simply trusts that his performers and sun-dappled visuals will carry the film forward. And he’s right – there’s little narrative propulsion to Too Late to Die Young, yet it hums along with a vibrant humanity all the same.
    • 63 Metascore
    • 63 Barry Hertz
    It’s not that every film has to achieve some grand epiphany, but Touch Me Not is not nearly as satisfying as the primal act it’s obsessed with.
    • 78 Metascore
    • 75 Barry Hertz
    It's a my-brother's-keeper drama, except when it's a violent comedy. It's a tale of There Will Be Blood-levels of greed, except when it's a high-ho adventure.
    • 68 Metascore
    • 88 Barry Hertz
    It's fierce, it's lean, it's mean, and it has at least three first-pumping "Hell, yeah!" moments.
    • 67 Metascore
    • 63 Barry Hertz
    This Altman-esque drama about the rise and fast fall of the 1988 presidential hopeful has a lot on its mind – morality in public office, the state of journalism, the often paradoxical nature of running a campaign based on lies – but spends too little energy dissecting those thoughts.
    • 69 Metascore
    • 75 Barry Hertz
    Edgerton, who also plays the tightly wound chief of the conversion-therapy organization here, wrings devastating performances from his cast, including Lucas Hedges as Garrard, and Russell Crowe and Nicole Kidman as his parents.
    • 81 Metascore
    • 100 Barry Hertz
    By twisting around preconceptions of what an outer-space epic should be, French auteur Claire Denis returns to the fertile ground of her Trouble Every Day era, using genre to dig beneath themes that others would only treat as skin-deep.
    • 68 Metascore
    • 88 Barry Hertz
    Mid90s doesn't feel like a recreation of an era so much as a lost artifact of the time. There's one predictable and regrettable narrative beat toward the end, but otherwise Hill has crafted a debut that will last a lifetime.
    • 88 Metascore
    • 100 Barry Hertz
    Led by a magnificent Viola Davis, the cast is ridiculously stacked. The action is tremendous. And the ultimate message – that nothing comes for free in America – is devastating in its swift brutality.
    • 84 Metascore
    • 100 Barry Hertz
    It is immersive, engaging and dizzying filmmaking.
    • 48 Metascore
    • 75 Barry Hertz
    On the whole, the film slays in all the right ways: killer cast, killer one-liners, killer kills. But there's a distinct sense that the story is stitched together from other, hastily discarded plot lines – even the simple manner in which some characters get from Point A to Point B is messy.
    • 58 Metascore
    • 38 Barry Hertz
    It's a jumbled mess, to put it mildly.
    • 83 Metascore
    • 88 Barry Hertz
    Part political satire, part fantasy, part I-don’t-even-know-what, Diamantino is exactly the type of surreal concoction that begs to be discovered by unsuspecting audiences.
    • 83 Metascore
    • 75 Barry Hertz
    Just as it seems that Noé will tip over into the truly extreme, he backs off. If this is the dawn of a new, slightly restrained Noé, we might need five more stages to process the pivot.
    • 86 Metascore
    • 75 Barry Hertz
    The impact of modern vice upon the Wayuu is a captivating tale never told before, and the final few minutes are brutal in the best possible way
    • 53 Metascore
    • 50 Barry Hertz
    Levinson displays some amazing technical chops – most of which can be traced back to Joseph Kahn, but never mind – and there’s one standout home-invasion sequence toward the end. But some warnings are best heeded.
    • 79 Metascore
    • 75 Barry Hertz
    Entire passages stretch along at a too-leisurely pace, allowing whatever anger Jia is surely carrying to too frequently cool off. Still, by the film’s New Year’s Eve-set finale, there’s little doubt Jia can create masterful cinematic moments when he so desires.
    • 84 Metascore
    • 75 Barry Hertz
    Corbet’s work is a big, sloppy wet kiss to all manner of rise-and-fall clichés. Yet it mostly works, with Corbet as eager to display his influences...as he is to prove he can handle his own gonzo-spectacle set-pieces.
    • 58 Metascore
    • 50 Barry Hertz
    Director David Mackenzie (Pine's collaborator on Hell or High Water) dabbles in some interesting aesthetic experiments – including a doozy of a single-take scene in the film's opening minutes – but the narrative is cut, dried and left to rot under the soggy Scottish skies.
    • 89 Metascore
    • 88 Barry Hertz
    As it dips into murder-mystery territory, then something more quiet and philosophical, Chang-dong writes a story both expected and surprising.

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