Johanna Steinmetz
Select another critic »For 52 reviews, this critic has graded:
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63% higher than the average critic
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1% same as the average critic
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36% lower than the average critic
On average, this critic grades 9.1 points lower than other critics.
(0-100 point scale)
Johanna Steinmetz's Scores
- Movies
- TV
Score distribution:
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Positive: 27 out of 52
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Mixed: 10 out of 52
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Negative: 15 out of 52
52
movie
reviews
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- Johanna Steinmetz
As directed by the Briton Mike Figgis ("Stormy Monday"), "Mr. Jones" is a muscular sort of movie, imposing action on characters who are feeling much but actually doing very little. Figgis' constant camera cuts are almost as animated, as jazzy, as Jones' highs. The director shows a daring sense of rhythm in his edits and, for this story, anyway, it works. [8 Oct 1993, p.D]- Chicago Tribune
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- Johanna Steinmetz
The setup is so startlingly unlike the rest of True Colors, so moody and visually ambiguous, that it hits you both with the force of the moment and with regret for what this movie might have been. [05 Apr 1991, p.D]- Chicago Tribune
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- Johanna Steinmetz
Still, it's the bits and pieces of this movie, the eccentric asides, that rescue it-when they work. [1 Oct 1993, p.L]- Chicago Tribune
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- Johanna Steinmetz
Fire in the Sky would seem more a candidate for a TV movie than a theatrical film. [14 Mar 1993, p.4C]- Chicago Tribune
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- Johanna Steinmetz
Van Damme himself, a graduate of the blank-stare school of acting, is so without emotional inflection on the screen that his most affecting moment in this film, if one is to judge from a preview audience's reaction, is when he drops a bathrobe for a couple of seconds of magnificent gluteal exposure.- Chicago Tribune
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- Johanna Steinmetz
Though it does know how to hammer home a point, Hardware doesn't always have matching nuts and bolts. It has an anarchic quality, a jolting, disorienting rhythm that makes us unsure of time frame in certain stretches and of motivation in others. [14 Sep 1990, p.I]- Chicago Tribune
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- Johanna Steinmetz
While this production certainly ranks above Van Damme's prior efforts, it's still full of the sort of macho overkill typical of today's action genre. [09 Aug 1991, p.B]- Chicago Tribune
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- Johanna Steinmetz
It's a dream of a movie, if only in the literal sense. The film means well; so it seems churlish to mention its total absence of originality. Care Bears poaches shamelessly on everything from "The Wizard of Oz" to "Androcles and the Lion," but its greatest debt is to Lewis Carroll, whose engagingly warped mind would surely recoil at this confection. [07 Aug 1987, p.Q]- Chicago Tribune
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- Johanna Steinmetz
With its old-timey special effects, multiple plots and silly humor, it scampers through its 102 minutes untethered to the demands of strict logic, continuity or character development. This film is just out to have a good time. Often, it succeeds. [27 Apr 1990, p.D]- Chicago Tribune
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- Johanna Steinmetz
It's basically an anger film, a catharsis for problems we haven't learned to solve. As that, it does its job well, with humor and surprising grace. [18 Sep 1987, p.18]- Chicago Tribune
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- Johanna Steinmetz
Add the American work ethic to an Italian bedroom farce, give it to a director reknowned for small, natural, gently humorous films, and you come up with Loverboy, a comedy that is more often distasteful than funny. [2 May 1989, p.7C]- Chicago Tribune
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- Johanna Steinmetz
In a film which can't seem to decide whether it's comedy or drama, folksy or sinister, every scene is played for ambivalence. The result is a definite maybe. [23 Sep 1988, p.L]- Chicago Tribune
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- Chicago Tribune
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- Johanna Steinmetz
It takes a while to get used to Mick Jagger as a paid predator, wearing a goofy helmet and spouting lines like, "Get the meat!" But by the end of Freejack, a fairly silly new sci-fi action thriller, rock star Jagger has made the role his own. [20 Jan 1982, p.C7]- Chicago Tribune
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- Johanna Steinmetz
Shapiro has constructed a by-the-numbers script that telegraphs every plot twist with the exertion of its setups. We know that a hive of yellow jackets in the orchard, a carousel in the attic and Darian's fondness for horses will somehow make it into the final minutes of the film. It is hard to work up the curiosity to stick it out and find out how. [6 Apr 1993, p.7]- Chicago Tribune
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- Johanna Steinmetz
Son-In-Law is a comedy that outstrips its aspirations. It could so easily be a movie you're embarrassed to be caught laughing at. [2 July 1993, p.C]- Chicago Tribune
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- Johanna Steinmetz
Pirates is tedious round after tedious round of mutiny and rescue. Screen people are hanged and stabbed and garroted with great care, but there's nothing to put the audience out of its misery. [22 July 1986, p.5C]- Chicago Tribune
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- Johanna Steinmetz
In Madhouse, writer-director Tom Ropelewski doesn't so much serve up an idea as force-feed it down our gullets. It takes a game bird to sit through the entire movie. [16 Feb 1990, p.K]- Chicago Tribune
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- Johanna Steinmetz
Who's That Girl? is sunny and harmless. Perhaps it's indicative that feminist hostility is taking a milder turn. Or perhaps the genre has gone Hollywood. [09 Aug 1987, p.6C]- Chicago Tribune
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- Johanna Steinmetz
While entertaining and often genuinely frightening, thanks to a remorsefully blue cast to the cinematography, this thick stew can be tough to swallow under Tony Maylam's bumpy direction. [3 May 1992, p.C7]- Chicago Tribune
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- Johanna Steinmetz
Mayall`s hyper portrayal of Fred, while psychologically sound, is dramatically torture.- Chicago Tribune
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- Johanna Steinmetz
Pyun obviously enjoys filming Armageddon, and Cyborg is visually interesting even at its most preposterous. Everything is in ruins, with enough scenes in burnt-out factories to give new meaning to the term "loft living." Still, the plot is hopelessly confused, there are cuts that don't match and scenes that move suddenly from full sun to late afternoon. [07 Apr 1989, p.B]- Chicago Tribune
