Peter Hartlaub

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For 562 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 7.8 points lower than other critics. (0-100 point scale)

Peter Hartlaub's Scores

  • Movies
  • TV
Average review score: 56
Highest review score: 100 Ponyo
Lowest review score: 0 Show Dogs
Score distribution:
562 movie reviews
    • 66 Metascore
    • 75 Peter Hartlaub
    The more an audience member sees the beauty left in the Buddhist leader’s wake, the more it becomes clear that his influence has the power to continue generations beyond his passing.
    • 51 Metascore
    • 75 Peter Hartlaub
    A movie for science fiction fans who wish every minute of “Star Wars” was the cantina scene.
    • 32 Metascore
    • 50 Peter Hartlaub
    This isn’t close to being a great movie. But if you don’t overthink it, there is some fun to be had in the grisly consequences.
    • 74 Metascore
    • 75 Peter Hartlaub
    Byrne is the furthest thing from being a manipulative filmmaker. But Raising Bertie is moving nonetheless.
    • 51 Metascore
    • 50 Peter Hartlaub
    It’s summer, weed is legal in California now and laughs are a scarce resource. You could do worse than Rough Night.
    • 73 Metascore
    • 75 Peter Hartlaub
    Like George Bailey, and the Cartwright family from “Bonanza” and other fictitious families, the real-life story of the Sungs is one of loyalty and adhering to their code, even as they face losing everything.
    • 69 Metascore
    • 25 Peter Hartlaub
    Captain Underpants is a very popular book series that doesn’t seamlessly translate to the big screen, and the filmmakers can’t solve this problem. The result is a cinematic wedgie: a little too dark, a little too nihilistic, a little too empty.
    • 39 Metascore
    • 50 Peter Hartlaub
    The “Diary of a Wimpy Kid” series has been, at its core, “Alvin and the Chipmunks” without the rodents.
    • 57 Metascore
    • 75 Peter Hartlaub
    Whatever the numbers and whatever the broader entertainment trends, The Wall proves it’s good when big directors have the flexibility to make small projects.
    • 68 Metascore
    • 75 Peter Hartlaub
    The Chuck Wepner story is a compelling one — and the performances ensure its place as a sports movie contender.
    • 69 Metascore
    • 50 Peter Hartlaub
    Chasing Trane celebrates its subject with great passion, but it often feels like walking in late into a good party.
    • 76 Metascore
    • 75 Peter Hartlaub
    A charming and thoughtful movie, about people making a charming and thoughtful movie.
    • 50 Metascore
    • 75 Peter Hartlaub
    Like its lead characters, Going in Style just grooves along nicely, until the credits roll and you realize it was time well spent.
    • 40 Metascore
    • 25 Peter Hartlaub
    Smurfs: The Lost Village has the look of a film that was rushed, and made on a tight budget. At best, it’s an adequate cinematic babysitter.
    • 50 Metascore
    • 50 Peter Hartlaub
    It doesn’t help that there are strong similarities with Sony’s equally disorganized yet superior 2016 film “Storks.” Both films work off the same premise — that humans don’t bear live young.
    • 54 Metascore
    • 25 Peter Hartlaub
    We get a lot of hapless victims in an expensive endeavor that is surprisingly lifeless.
    • 32 Metascore
    • 25 Peter Hartlaub
    The Shack is unshakable in its religious message, and that’s admirable in a cynical world. But viewed objectively as cinema, it’s just not a very good film.
    • 77 Metascore
    • 100 Peter Hartlaub
    Logan takes its indestructible metal claws to comic book movie norms and destroys them, and it’s a wonderful thing.
    • 48 Metascore
    • 50 Peter Hartlaub
    Too lackluster to be praised highly, yet too benign to be excoriated, “Rock Dog” is the perfect family film for a rainy day with no other options. It does not deserve mention in any animation history book; and yet it’s completely satisfactory in the moment.
    • 47 Metascore
    • 25 Peter Hartlaub
    The film is a plodding 2 ½ hours long, with an abundance of livestock gore, endless dental trauma and a violent sex scene.
    • 75 Metascore
    • 75 Peter Hartlaub
    The Lego Batman Movie is less awesome than its predecessor, but it’s a clever, well-paced, self-aware and completely satisfying kind of less awesome.
    • 43 Metascore
    • 25 Peter Hartlaub
    A Dog’s Purpose is peril porn; the animal grows old or faces tragedy and expires over and over, reincarnating into a new dog with the same brain.
    • 37 Metascore
    • 25 Peter Hartlaub
    The Bye Bye Man is the kind of mess that happened by committee.
    • 62 Metascore
    • 75 Peter Hartlaub
    Always watchable, and occasionally great. And that’s probably more than even the most forgiving former Shyamalan fan ever thought they’d see again.
    • 76 Metascore
    • 75 Peter Hartlaub
    Bayona remains a director whose work should be anticipated, and A Monster Calls is a solid fantasy drama.
    • 59 Metascore
    • 50 Peter Hartlaub
    Sing is a tribute to struggling live theater.
    • 42 Metascore
    • 50 Peter Hartlaub
    Too many moments elicit a polite half chuckle, when the screenwriters are trying for uproarious laughter. But it benefits from an excellent cast, who seem to be all in. And whenever there’s a stretch of extended mediocrity, it’s almost always saved by an unexpected moment of politically incorrect inspiration.
    • 81 Metascore
    • 75 Peter Hartlaub
    A slow start keeps Moana from reaching “Frozen” or “Beauty and the Beast” levels of excellence. But the comic self-awareness, engaging songs and a fulfilling finish are enough to merit a strong recommendation.
    • 66 Metascore
    • 75 Peter Hartlaub
    It’s a solid first step into the magical world of the familiar. Escapist entertainment for crowds that prefer to know their destination in advance.
    • 81 Metascore
    • 100 Peter Hartlaub
    Arrival works as mainstream entertainment, but includes hallmarks of the “2001: A Space Odyssey”/“Silent Running” era of artist-driven science fiction. It has Hollywood stars, but makes great effort to strip them of any false glamour. The film is tightly calibrated, but leaves things open to interpretation, for discussion on the ride home and beyond.

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