Harper Barnes

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For 72 reviews, this critic has graded:
  • 70% higher than the average critic
  • 2% same as the average critic
  • 28% lower than the average critic
On average, this critic grades 0.6 points higher than other critics. (0-100 point scale)

Harper Barnes' Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Vertigo
Lowest review score: 25 Color of Night
Score distribution:
  1. Positive: 47 out of 72
  2. Negative: 11 out of 72
72 movie reviews
    • 53 Metascore
    • 38 Harper Barnes
    Rookie of year strikes out in the laughs department. [09 Jul 1993, p.3D]
    • St. Louis Post-Dispatch
    • 56 Metascore
    • 75 Harper Barnes
    Posse is an exciting, action-packed Western, and almost all of its social commentary is skillfully embedded in the gripping drama itself. [14 May 1993, p.3G]
    • St. Louis Post-Dispatch
    • 50 Metascore
    • 75 Harper Barnes
    The movie has a hallucinatory intensity that is skillfully mixed with light-comic relief and straight-faced farce. It never takes itself too seriously, and never veers too far in the other direction by surrendering to self-parody. [01 Jul 1994, p.3D]
    • St. Louis Post-Dispatch
    • 42 Metascore
    • 50 Harper Barnes
    The best thing about Renegades is a beautifully choreographed car chase early in the movie. After that, the movie creeps along for 20 minutes or so while the two principals grope toward buddyhood. Then, with bonding accomplished, the action picks up somewhat, but never really catches fire. [07 Jun 1989, p.3E]
    • St. Louis Post-Dispatch
    • 42 Metascore
    • 50 Harper Barnes
    CRAZY PEOPLE is a one-joke movie. It's a pretty good joke: Slightly unbalanced people write ads that tell the absolute truth about products, and the products sell like crazy. But it isn't good enough to make us care for long about a mental-institution romance between Dudley Moore and Daryl Hannah that has the feel of ''David and Lisa: The Sit-Com.'' [13 Apr 1990, p.3F]
    • St. Louis Post-Dispatch
    • 56 Metascore
    • 50 Harper Barnes
    Hearts and Souls is an only intermittently entertaining reworking of an ancient Hollywood formula. [13 Aug 1993, p.5F]
    • St. Louis Post-Dispatch
    • 33 Metascore
    • 50 Harper Barnes
    On a scale of 1 ("Men in Tights") to 10 ("Naked Gun"), I'd give "Fatal Instinct" about a 5. [31 Oct 1993, p.9C]
    • St. Louis Post-Dispatch
    • 48 Metascore
    • 38 Harper Barnes
    PRESUMABLY this zombie flick is supposed to be funny, since it's about as scary as "Little Women." [18 Jan 1995, p.6F]
    • St. Louis Post-Dispatch
    • 62 Metascore
    • 75 Harper Barnes
    If you are willing to forgive it a lot -- and on a sunny, winter-spring day, my capacity for forgiveness was immense -- Chances Are can be an entertaining little trifle. [17 March 1989, p.3F]
    • St. Louis Post-Dispatch
    • 66 Metascore
    • 88 Harper Barnes
    A very unsettling black comedy....although by the end, you might feel as if you have been assaulted by a combination of ''Blue Velvet'' and ''The Texas Chainsaw Massacre.'' This is a very impressive directorial debut for Bob Balaban, working from a chilling (and eventually cutting and slashing) script by Christopher Hawthorne. [28 Apr 1989, p.6F]
    • St. Louis Post-Dispatch
    • 34 Metascore
    • 50 Harper Barnes
    Prince is a puzzle. Unfortunately, in Graffiti Bridge, he isn't a very interesting one. The main problem may be that most of the music in this sequel to Prince's 1984 musical Purple Rain is mediocre, mainly derived from rap and funk but without the energy those forms generate when they are presented raw. [06 Nov 1990, p.4D]
    • St. Louis Post-Dispatch
    • 52 Metascore
    • 75 Harper Barnes
    Just when you've decided it's just another queasy thriller about a woman-hating serial killer, and you're beginning to wonder if Hollywood isn't making too many of these nasty little things, Malice winds up and delivers a terrific curveball. [01 Oct 1993, p.3EV]
    • St. Louis Post-Dispatch
    • 100 Metascore
    • 100 Harper Barnes
    Without question. Vertigo is one of the best movies ever made by one of the best directors. [Restored version; 7 Dec 1996, p.41]
    • St. Louis Post-Dispatch
    • 50 Metascore
    • 50 Harper Barnes
    ROMEO Is Bleeding is an interesting mess. A very self-conscious contemporary take on the film noir genre, it is so dark (both photographically and psychologically) and derivative that at times it seems like a parody. [2 March 1994, p.6F]
    • St. Louis Post-Dispatch
    • 76 Metascore
    • 88 Harper Barnes
    Reitman's movie is triumphant and actually deserves being mentioned in the same breath with those great comedies of 50 years ago. [07 May 1993, p.3G]
    • St. Louis Post-Dispatch
    • 72 Metascore
    • 75 Harper Barnes
    If you're looking for down and dirty, Kiss of Death delivers the goods. [21 Apr 1995, p.3E]
    • St. Louis Post-Dispatch
    • 76 Metascore
    • 100 Harper Barnes
    This wonderfully wry, painfully funny comedy about a middle-aged boy and his mother is Albert Brooks' most accessible movie. [17 Jan 1997, p.03E]
    • St. Louis Post-Dispatch
    • 59 Metascore
    • 50 Harper Barnes
    Fitfully, someone will say or do something very funny, but much of the time passes in a rather laborious way. This movie should have been a lot better than it is. [27 Nov 1994, p.9C]
    • St. Louis Post-Dispatch
    • 47 Metascore
    • 25 Harper Barnes
    The new Clint Eastwood movie, Pink Cadillac, might approach mediocrity if it were about half an hour shorter. At almost two hours, it is, to paraphrase a line in the movie, Snooze City. [26 May 1989, p.3F]
    • St. Louis Post-Dispatch
    • 47 Metascore
    • 63 Harper Barnes
    A generally entertaining Western with some striking images, Young Guns II is significantly better than the original Young Guns. [02 Aug 1990, p.4E]
    • St. Louis Post-Dispatch
    • 68 Metascore
    • 63 Harper Barnes
    Warren Beatty's new tour de force about the ax-jawed detective is generally fun to watch. Visually, it's brilliant. Dramatically, it's OK. [15 Jun 1990, p.3F]
    • St. Louis Post-Dispatch
    • 70 Metascore
    • 88 Harper Barnes
    But what The Paper does best is capture the flavor of a newsroom at its craziest, when, say, you are five minutes past deadline on a breaking story, it's July and the air conditioning is broken, two editors are yelling contradictory commands at you and a workman is standing on your desk putting holes in the ceiling with a deafening electric drill. [25 March 1994, p.3H]
    • St. Louis Post-Dispatch
    • 55 Metascore
    • 88 Harper Barnes
    THANKS to the boys of summer - nine wonderful child actors - and a sweetly nostalgic story well told by writer-director David Mickey Evans, The Sandlot is a winner. [9 Apr 1993, p.3F]
    • St. Louis Post-Dispatch
    • 41 Metascore
    • 50 Harper Barnes
    Despite a solid cast and a few interesting visual moments, Surviving the Game is just a routine action picture. [21 Apr 1994, p.5G]
    • St. Louis Post-Dispatch
    • 50 Metascore
    • 50 Harper Barnes
    This convoluted tale of a U.S. Treasury agent (Wesley Snipes) looking for the rats who killed one of his partners simmers along fairly well for about 45 minutes and then gets all lukewarm and fuzzy. [21 Apr 1993, p.6F]
    • St. Louis Post-Dispatch
    • 61 Metascore
    • 75 Harper Barnes
    THE LAIR of the White Worm is an extremely silly and rather bloody movie. If you are willing to accept it as a tacky spoof of tacky horror movies, you should find it funny - at times, downright hilarious. [3 Feb 1989, p.3G]
    • St. Louis Post-Dispatch
    • 73 Metascore
    • 88 Harper Barnes
    Thanks in great part to a couple of dozen wonderful soul songs from the 1960s, and a very engaging and talented group of young Dubliners, The Commitments is a thorough delight - warm, funny and deeply human. [13 Sep 1991, p.3F]
    • St. Louis Post-Dispatch
    • 51 Metascore
    • 63 Harper Barnes
    Ultimately, however, the only real problem with the new version of "The Getaway" is that Alec Baldwin and Kim Basinger just don't seem very believable as tough professional criminals. You just know they are only a shower and a manicure away from dinner at Spago. [11 Feb 1994, p.3E]
    • St. Louis Post-Dispatch
    • 76 Metascore
    • 63 Harper Barnes
    Since the movie never really gets very far beneath the skin of these immensely talented people, their battles and her final victory seldom rise above the level of moderately entertaining melodrama. [11 Jun 1993, p.3G]
    • St. Louis Post-Dispatch
    • 79 Metascore
    • 100 Harper Barnes
    Remarkable...For All Mankind is a lovely film. Brian Eno's soundtrack is majestic without being overly sentimental, and Reinert's choice of images ranges skillfully from the ironically ordinary - astronauts eating, listening to country music and teasing one another about personal quirks - to the awe inspiring. [2 Feb 1990, p.3F]
    • St. Louis Post-Dispatch

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