Barry Hertz

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The Globe and Mail (Toronto)
For 1,058 reviews, this critic has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this critic grades 1.2 points higher than other critics. (0-100 point scale)

Barry Hertz's Scores

  • Movies
  • TV
Average review score: 67
Highest review score: 100 American Honey
Lowest review score: 0 Unplanned
Score distribution:
  1. Positive: 719 out of 1058
  2. Mixed: 201 out of 1058
  3. Negative: 138 out of 1058
1058 movie reviews
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    • 82 Metascore
    • 90 Barry Hertz
    Concrete Valley
    Sensitive and intimate might be the obvious adjectives for such a film, but Bourges is also intent on making Concrete Valley quite funny in parts, the humane humour balancing the ever-present anxiety that exists in many of Thorncliffe Park’s hallways and crowded elevators.
    • 57 Metascore
    • 64 Barry Hertz
    Land of Bad
    Once Land of Bad establishes its stakes – one man versus an army – the film settles all too comfortably into war-machine territory, minus any particularly inventive kills or sense of style.
    • 85 Metascore
    • 90 Barry Hertz
    The Taste of Things
    If you can appreciate the simple concept of nourishment – of the stomach, and of the soul – then you will walk away delightfully stuffed.
    • 26 Metascore
    • 0 Barry Hertz
    Madame Web
    Stupendously stupid and never remotely in control of its faculties, the film represents a kind of weaponized incompetence, hostile and assaultive.
    • 77 Metascore
    • 85 Barry Hertz
    The Promised Land
    Ultimately, The Promised Land is a testament to not only the resilience of Denmark’s agricultural homesteaders . . . but also to the fierce power of Mikkelsen’s presence.
    • 35 Metascore
    • 14 Barry Hertz
    Argylle
    One of the most chaotically stupid action movies to torture audiences in ages.
    • 72 Metascore
    • 88 Barry Hertz
    Orion and the Dark
    Brought to life with a smooth and almost restrained kind of animation – all rounded edges and frames designed to breathe, rather than hyperactively cram in as much action as possible – and paced with a confident speed, Orion and the Dark will charm and entrance.
    • 80 Metascore
    • 88 Barry Hertz
    Four Daughters
    As unflinching as it is empathetic, Four Daughters is the best and slipperiest kind of film, whether you want to label it a documentary or not.
    • tbd Metascore
    • 90 Barry Hertz
    Attila
    In terms of understanding and confronting the harsh reality that so many Canadians endure today, Attila is remarkable, verging on essential, filmmaking.
    • 71 Metascore
    • 80 Barry Hertz
    Memory
    Chastain and Sarsgaard find all the pieces of Franco’s Memory worth saving, and proceed to connect with one another to build something that is new, remarkable, affecting. Hard to forget, even.
    • 53 Metascore
    • 45 Barry Hertz
    I.S.S.
    A movie so dumb that it has tricked itself into thinking it is smart enough to be self-knowingly stupid, the new astronaut thriller, I.S.S., is a true waste of inner and outer space.
    • 53 Metascore
    • 75 Barry Hertz
    The Beekeeper
    By Cinema Stathama considerations, The Beekeeper is a masterpiece – the best B(ee)-movie of this cold-hearted season.
    • 58 Metascore
    • 83 Barry Hertz
    Mean Girls
    Rapp, who originated the role of Regina on Broadway, is a force-of-nature knockout, honouring but not imitating Rachel McAdams’s beautiful bullying from the first film with a sly kind of menace.
    • 90 Metascore
    • 79 Barry Hertz
    All of Us Strangers
    Director Andrew Haigh (45 Years, Lean on Pete) knows how to build towering moments of human drama from the tiniest foundations. And he mostly pulls off such a feat again in this tale of grief and generational pain.
    • 31 Metascore
    • 59 Barry Hertz
    Rebel Moon Part 1: A Child of Fire
    So highly imitative as to strip the word “derivative” of any meaning, Rebel Moon is fan-fiction writ large, as if Snyder believes he’s outsmarting everyone from George Lucas and George R.R. Martin to the estates of Frank Herbert and H.R. Giger.
    • 42 Metascore
    • 73 Barry Hertz
    Aquaman And The Lost Kingdom
    Through design or happy accident, Aquaman and the Lost Kingdom closes out the DCEU on a mid- to high-water mark.
    • 81 Metascore
    • 64 Barry Hertz
    American Fiction
    Despite strong performances across the board – most notably Wright, who has never before been able to flex such leading-man magnetism – there is an overriding flatness to Monk’s personal life.
    • 72 Metascore
    • 55 Barry Hertz
    The Color Purple
    The Color Purple arrives as a confused byproduct of the industry’s best intentions and worst habits.
    • The Globe and Mail (Toronto)
      • Posted Dec 19, 2023
    • 73 Metascore
    • 80 Barry Hertz
    Ferrari
    Mourning her only child, her marriage, and very likely her fortune as the betrayed and sidelined Laura, Cruz goes scorched-earth, incinerating any performer sharing her space.
    • 73 Metascore
    • 85 Barry Hertz
    The Iron Claw
    This is a picture as severe as the real-life generational abuse that its director is chronicling, even if a few false steps mean that The Iron Claw ultimately lands as a technical knock-out.
    • 92 Metascore
    • 100 Barry Hertz
    The Zone of Interest
    The Zone of Interest is a knockout in all senses. It will pummel your heart, and flatten your soul. It cannot, must not, be missed.
    • 54 Metascore
    • 38 Barry Hertz
    The Boys in the Boat
    The Boys in the Boat is a film made with such a gently dull spirit that you cannot help but wonder if Clooney put himself to sleep during production. Someone get this man a Nespresso.
    • 88 Metascore
    • 49 Barry Hertz
    Poor Things
    So much of Poor Things, both in its conception and maturation, feels self-satisfyingly provocative instead of imaginatively profound.
    • 72 Metascore
    • 80 Barry Hertz
    Into the Weeds
    Through deft editing and a keen sense of detail, Baichwal manages to compress the case of Johnson vs. Monsanto Company into a superbly paced, tightly wound thriller.
    • 91 Metascore
    • 84 Barry Hertz
    The Boy and the Heron
    It is tender, true and – depending on your interpretation, or understanding, of the finale – intensely heartbreaking.
    • 72 Metascore
    • 60 Barry Hertz
    Eileen
    The performances nearly save the film from itself.
    • 66 Metascore
    • 37 Barry Hertz
    Wonka
    Chalamet seems to be a Gene Wilder fan / But he can’t live up to the original candyman / He’s flat, and he’s grating, and he can’t sing a tune / The heartthrob is best off on the sands of Dune.
    • 77 Metascore
    • 83 Barry Hertz
    Maestro
    As intense and rigorous and thoroughly impressive a work Maestro is, the triple-threat Cooper cannot quite summon the nerve, or verve, to go completely off-book.
    • 53 Metascore
    • 45 Barry Hertz
    Silent Night
    Silent Night is all needlessly protracted foreplay, a true “when are they going to get to the fireworks factory?” tease of an action movie. And when Woo finally does light things up with only 15 minutes to go, the result is a limp pop of sparks, easily extinguishable.
    • 79 Metascore
    • 95 Barry Hertz
    Monster
    While the split-POV conceit initially begs comparisons to Rashomon, Monster’s three perspectives are not so much in argument with one another as they are pieces of the same puzzle. And once they are locked together, the final portrait is staggeringly heartbreaking.
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