For 131 reviews, this critic has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this critic grades 1.6 points higher than other critics. (0-100 point scale)

Ted Mahar's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Vincent & Theo
Lowest review score: 0 Kinjite: Forbidden Subjects
Score distribution:
  1. Positive: 92 out of 131
  2. Negative: 17 out of 131
131 movie reviews
    • 79 Metascore
    • 83 Ted Mahar
    This is one of the Duke's better Westerns. [14 Oct 2005, p.47]
    • Portland Oregonian
    • 27 Metascore
    • 50 Ted Mahar
    Problem Child has moments, or perhaps instants, of misanthropic satire. There also are stroboscopically brief flashes of psychological irony or cleverness. [30 July 1990, p.D8]
    • Portland Oregonian
    • 42 Metascore
    • 25 Ted Mahar
    Though this non-stop onslaught of nonsense and mayhem is not really worth watching, it is mildly impressive for Sutherland and Phillips. They act their hearts out, as if they thought they were in another movie that deserved a real effort. [05 Jun 1989, p.C05]
    • Portland Oregonian
    • 61 Metascore
    • 75 Ted Mahar
    Van Peebles seems just a bit more interested in how he has his say than what he has to say, but New Jack City could be the beginning of an interesting career. [8 Mar 1991, p.E13]
    • Portland Oregonian
    • 71 Metascore
    • 100 Ted Mahar
    Thrilling. [22 Jan 1993, p.AE15]
    • Portland Oregonian
    • 42 Metascore
    • 63 Ted Mahar
    Paul Reiser is fine as Emory's tense partner; so is Mercedes Ruehl as a good therapist. J.T. Walsh, always a mean guy, is good here as Emory's venal boss. [13 Apr 1990, p.R13]
    • Portland Oregonian
    • 45 Metascore
    • 63 Ted Mahar
    While the whole film is well-made, it has surprisingly few surprises. There are some small ones, but the plot and many details are predictable down to small details. [7 Oct 1988, p.F13]
    • Portland Oregonian
    • 42 Metascore
    • 25 Ted Mahar
    The Boz is filling in the blank where the hero needs to be in a maelstrom of violent set pieces. [25 May 1991, p.C08]
    • Portland Oregonian
    • 68 Metascore
    • 83 Ted Mahar
    What is appealing in Avalon is what is appealing in Levinson's best films, Diner, Tin Men and Rain Man. He creates relationships with texture. After a half-hour, the viewer feels part of the family, yet has an overview allowing a tolerance for the characters they don't always have for themselves. [19 Oct 1990, p.F04]
    • Portland Oregonian
    • 63 Metascore
    • 83 Ted Mahar
    Not only did surviving vets get to see their World War II exploits (in the September 1944 Arnhem debacle) played out spectacularly for all the world to see, but several got to coach the actors playing them. [28 Dec 2001]
    • Portland Oregonian
    • 87 Metascore
    • 88 Ted Mahar
    The historical details of costumes and settings are exemplary and the cast superb. Those best of times and worst of times must have looked much like this. [12 Jul 1996, p.39]
    • Portland Oregonian
    • 84 Metascore
    • 91 Ted Mahar
    Garfield is customarily strong and energetic as a desperate guy on the edge. Famous for her work in tight sweaters and halters, Turner was no thespian. But the combination of Garfield and Garnett, or something, fired a performance from her that is, in its way, perfect. [05 Mar 1999]
    • Portland Oregonian
    • 34 Metascore
    • 38 Ted Mahar
    The special effects and stunts are marvelous, but director Geoff Murphy (``Young Guns II)'' gets only perfunctory acting. No room for nuance at a fast trot. Even the fastest pace gets monotonous when nothing else is happening. 'Round and 'round and 'round they go, getting nowhere but making great time. [20 Jan 1982, p.C06]
    • Portland Oregonian
    • 53 Metascore
    • 75 Ted Mahar
    One of the most important things about Baby Boom, aside from being amusing all the way through, is that Diane Keaton gets her first chance to carry a comedy all by herself. [28 Oct 1987, p.E06]
    • Portland Oregonian
    • 74 Metascore
    • 75 Ted Mahar
    This is decidedly not for everyone, but many consider it an offbeat classic. [03 Nov 2006, p.45]
    • Portland Oregonian
    • 63 Metascore
    • 50 Ted Mahar
    In this loose adaptation of Sheridan LeFanu's Carmilla, Ingrid Pitt became a Hammer favorite as a lesbian vampire. This has a few nude scenes and Cushing; something for everyone. [22 Aug 1977, p.38]
    • Portland Oregonian
    • 33 Metascore
    • 38 Ted Mahar
    Kickboxer is a film for the truly undiscriminating. It exists for one reason, to display the physique and kickboxing style of Jean-Claude Van Damme. Compared to Van Damme, Sylvester Stallone is Laurence Olivier and Chuck Norris is John Malkovich. [13 Sep 1989, p.C05]
    • Portland Oregonian
    • 72 Metascore
    • 75 Ted Mahar
    Fonda's classic performance in a role he owned onstage and on film is a pleasure to watch. [22 Sep 2006, p.46]
    • Portland Oregonian
    • 30 Metascore
    • 12 Ted Mahar
    It's depressing to see attractive performers like Alley and Larroquette work so hard to such little effect on their vacations from TV. [16 Feb 1990, p.G14]
    • Portland Oregonian
    • 55 Metascore
    • 67 Ted Mahar
    The music is lively, loud, often powerful, sometimes raunchy, yet full of unexpected subtleties and nuances. The staging is frenetic but as perfect as the machines of the art can produce. This is first class music video.
    • 60 Metascore
    • 75 Ted Mahar
    while the conception of bear behavior is false and sentimental, the bears' performances are perfect, through a combination of training, staging and editing. [27 Oct 1989, p.F15]
    • Portland Oregonian
    • 58 Metascore
    • 63 Ted Mahar
    Point Break is actually better than you would expect for about the first hour, then starts the long, slow slide into dumber and dumber dumbness. You can almost hear the IQ points dropping from the screen. [12 July 1991, p.E17]
    • Portland Oregonian
    • 66 Metascore
    • 75 Ted Mahar
    White Hunter is an offbeat, thoughtful and amusing adventure. [21 Sep 1990, p.R13]
    • Portland Oregonian
    • 63 Metascore
    • 63 Ted Mahar
    Amusing but slow. [28 Aug 1992, p.AE17]
    • Portland Oregonian
    • 69 Metascore
    • 83 Ted Mahar
    Director Tony Richardson and Burton -- and Mary Ure, Claire Bloom and Edith Evans -- show what excitement could be created on paltry budgets in England in the late '50s and early '60s. [30 Sep 2001]
    • Portland Oregonian
    • 86 Metascore
    • 75 Ted Mahar
    It's all done in perfect taste. Sturges' specialty was sophisticated films about largely unsophisticated characters, and his talent shines here. [28 Jul 1991, p.34]
    • Portland Oregonian
    • 50 Metascore
    • 63 Ted Mahar
    Also, it is almost squeaky clean. It's rated PG, but without about four seconds of toilet humor and five seconds of bra ogling, Bill and Ted might have faced an insurmountable challenge: the dreaded G rating. [20 Feb 1989, p.D06]
    • Portland Oregonian
    • 61 Metascore
    • 83 Ted Mahar
    Sidney Poitier and Lilia Skala make a fine odd couple in this whimsical drama of a wandering handyman who is persuaded to help a tiny community of German nuns build a convent in the American desert. [25 Dec 1992, p.AE05]
    • Portland Oregonian
    • 90 Metascore
    • 88 Ted Mahar
    Here is another legendary case of actors following their characters' lead. [14 Feb 1997, p.36]
    • Portland Oregonian
    • 19 Metascore
    • 0 Ted Mahar
    A dull parade of violence, calculated sleaze and midlife angst. [08 Feb 1989, p.D05]
    • Portland Oregonian

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