For 314 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this critic grades 0.5 points higher than other critics. (0-100 point scale)

Barry Hertz's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Genèse (Genesis)
Lowest review score: 0 Mojave
Score distribution:
  1. Negative: 58 out of 314
314 movie reviews
    • 61 Metascore
    • 75 Barry Hertz
    Despite its sometimes overwhelming sense of familiarity – including a conceit that feels lifted from last year’s Game Night, an impossible feat given both productions’ development timelines – Ready or Not is still energetic, inventive and bloody enough to permissibly coast on its influences’ fumes.
    • 60 Metascore
    • 63 Barry Hertz
    The few parts of director Gene Stupnitsky’s film that feel new, then, don’t feel that new at all, from the ultra-shaggy plot to the gross-out gags that misunderstand the power that repetition might hold.
    • 51 Metascore
    • 25 Barry Hertz
    There is, buried deep somewhere in Linklater’s film or however many edits it may have undergone – the thing reeks of indecision – an insightful, even invigorating story about what happens to a creative genius once they stop creating. But the actual work presents a good argument that, for some artists, it might be best to quit while you’re ahead.
    • 52 Metascore
    • 63 Barry Hertz
    What we’re instead left with are two diametrically opposed performances: Williams goes small and intimate as the distressed Isabel, while Moore opts for a more operatic, less successful tenor that results in what might be the actress’s most unhinged moment ever (and not in a good way).
    • 71 Metascore
    • 63 Barry Hertz
    Part "Billy Elliot" and part Chadha’s own underdog hit "Bend It Like Beckham," Blinded by the Light is a feel-good coming-of-age movie that often feels way too good about itself.
    • 43 Metascore
    • 38 Barry Hertz
    There are small spurts of creativity ... but everything else about the production feels more watered down than the landscape our four interchangeable leads find themselves flailing about in.
    • 25 Metascore
    • 12 Barry Hertz
    An awkward, painful mash-up of horror and comedy that induces all the wrong kind of squirms.
    • 67 Metascore
    • 63 Barry Hertz
    "The Road" meets "Leave No Trace" with a sprinkling of another half-dozen sharper films, Light of My Life is Casey Affleck’s ode to the power of storytelling. Namely, Casey Affleck’s brand of storytelling: glacial, meandering, but not entirely ineffective.
    • 60 Metascore
    • 75 Barry Hertz
    So for now, I’m going to go lay down, chuckle at the film’s inventive ridiculousness and try not to think too hard about anything at all. It’s what Hobbs and Shaw would want.
    • 92 Metascore
    • 100 Barry Hertz
    The drama is an intricately constructed and intensely felt work that transcends the easy “coming-of-age” genre label that is so tempting to slap onto it.
    • 83 Metascore
    • 63 Barry Hertz
    In its thin conception, shaggy form and muddy execution – and in its glee in coasting on a perceived aura of cool whiz-pow-bang energy – the film is as much a comic-book movie as they come.
    • 90 Metascore
    • 88 Barry Hertz
    Unlike "Crazy Rich Asians," which had eyes for narrative substance but shamelessly flirted with the superficial, The Farewell is a more substantive, engrossing and ultimately deeper work about the bonds that hold and strengthen us.
    • 55 Metascore
    • 50 Barry Hertz
    It’s an entertaining and thrilling tale, if you’ve never seen it before. But you have.
    • 60 Metascore
    • 75 Barry Hertz
    In a Hollywood ecosystem obsessed with brands and inoffensive genericism, there is something admirable and fresh about a movie that has nothing on its mind other than delivering 87 minutes’ worth of gory gator-chomping thrills.
    • 10 Metascore
    • 0 Barry Hertz
    Unplanned will make you writhe in agony over how such an ugly, malicious and potentially dangerous piece of religious and political propaganda could have made its way into this world.
    • 84 Metascore
    • 88 Barry Hertz
    The drama is an endlessly inventive and devastating work, a lyrical ode to a city that has turned its back on its most devoted citizens.
    • 69 Metascore
    • 63 Barry Hertz
    In five years’ time, it wouldn’t be surprising to see Far from Home ranked near the bottom of everyone’s favourite MCU efforts – the film evaporates, Endgame-style, immediately after viewing.
    • 26 Metascore
    • 25 Barry Hertz
    I can’t imagine that the filmmakers behind the new horror film Isabelle were thinking about anything other than cold, hard cash while producing this utterly disposable work.
    • 80 Metascore
    • 75 Barry Hertz
    We’re watching Buckley electrify the screen today. May her voice rattle in your head for the rest of the year.
    • 84 Metascore
    • 75 Barry Hertz
    Still, once the end credits rolled – including superfluous “bonus” scenes wrapping up various narrative threads – I couldn’t help but empathize with that talking spork. Freedom, sweet freedom! For now.
    • 38 Metascore
    • 25 Barry Hertz
    The new movie is dumb, pointless and completely bereft of laughs. It wastes a talented cast and all of your time. Worst of all, though, it is unconscionably lazy, starting with its generic title (again, who is naming these things?) and ending with its shrug-of-the-shoulders climax.
    • 71 Metascore
    • 63 Barry Hertz
    The best thing about Late Night, a new comedy about modern office life, is that it could be set in almost any workplace and still feel mostly sharp and entirely necessary. The worst thing about Late Night is that it’s set in the world of late-night television.
    • 38 Metascore
    • 12 Barry Hertz
    Who needs original stars Will Smith and Tommy Lee Jones when you have, um ... well, what does this new Men in Black Cinematic Universe offer, exactly? As evidenced by MiB:I, absolutely nothing of value.
    • 73 Metascore
    • 63 Barry Hertz
    For those entering grade school, there is likely no better and more concise primer on the scandal. For everyone else, well, you know the story.
    • 86 Metascore
    • 88 Barry Hertz
    The entire production entertainingly coalesces into part concert doc, part cultural artifact, part “gotcha!” stunt, and part meditation on the fickle, fleeting nature of creativity.
    • 67 Metascore
    • 75 Barry Hertz
    Framing John DeLorean is a film that delights in stretching the truth, so maybe its constant ignorance of Hamm’s work is just part of its whole meta-narrative shtick.
    • 92 Metascore
    • 88 Barry Hertz
    The director’s semi-autobiographical, 1980s-set story may be small – it mostly focuses on the turbulent relationship between Julie and Anthony as the former struggles to find her artistic voice and the latter battles various addictions – but her impulses and vision are grand.
    • 40 Metascore
    • 38 Barry Hertz
    There is the overwhelming sense that Domino was not directed by any one person at all, but rather spliced and diced by committee into something barely watchable.
    • 48 Metascore
    • 75 Barry Hertz
    When Dougherty is able to keep these intelligent-ish impulses at bay, King of the Monsters is stupendous stupidity.
    • 44 Metascore
    • 50 Barry Hertz
    The film is not nearly as strong as its villain. It is, however, just as immature.

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