John Hazelton

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Screen Daily
For 45 reviews, this critic has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this critic grades 11.2 points lower than other critics. (0-100 point scale)

John Hazelton's Scores

  • Movies
  • TV
Average review score: 54
Highest review score: 100 Tangerine
Lowest review score: 20 Pirates of the Caribbean: Dead Men Tell No Tales
Score distribution:
  1. Positive: 15 out of 45
  2. Mixed: 24 out of 45
  3. Negative: 6 out of 45
45 movie reviews
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    • 43 Metascore
    • 40 John Hazelton
    San Andreas
    The very earnest human drama fits awkwardly into the action and isn’t helped by some unconvincing performances and weak dialogue.
    • 61 Metascore
    • 40 John Hazelton
    Ocean's 8
    British actor and TV host James Corden gets a bigger role in the story’s last act, but even his cuddly charm and pop culture cachet fails to bring this surprisingly flat action comedy to life.
    • 32 Metascore
    • 40 John Hazelton
    Ride Along 2
    With a script that’s about as inventive as the title, Ride Along 2 does little more than rehash the formula that two years ago teamed Ice Cube and Kevin Hart in an amiable if unambitious action comedy.
    • 34 Metascore
    • 40 John Hazelton
    Get Hard
    A raunchy yet slack-feeling comedy that seems to put as much effort into playing on racial stereotypes as playing for laughs.
    • 59 Metascore
    • 40 John Hazelton
    Run All Night
    While the dramatic themes echo the great crime movies of the seventies, it’s the modern flash and muscle that ultimately win out in this pacey yet less than satisfying action thriller.
    • 30 Metascore
    • 40 John Hazelton
    Stonewall
    Danny’s story isn’t dramatic or affecting enough to carry the film and other characters never develop into anything more than colourful ciphers. Irvine is appealing and relatable, but his performance isn’t always convincing and he’s handicapped by some clunky dialogue.
    • 34 Metascore
    • 40 John Hazelton
    Keeping Up with the Joneses
    Keeping Up with the Joneses may have twice the talent of other outings in the spy-couple sub-genre...but its laugh quotient is pretty low. And that’s a real problem for a romantic action comedy that’s always going more for humour, with a touch of sweet-natured romance, than thrills.
    • 32 Metascore
    • 40 John Hazelton
    Warcraft
    The film takes a long time to build dramatic momentum and gets interrupted by what seem like unnecessary plot points; some of them, perhaps, geared towards potential sequels.
    • 40 Metascore
    • 40 John Hazelton
    Aloha
    A forced and often cloying romantic comedy-drama with a strong, Bradley Cooper-led cast and an enticing Hawaiian setting but a bewildering mishmash of plot threads and themes.
    • 25 Metascore
    • 30 John Hazelton
    Shut In
    Most of the story’s credibility goes out the door with the big plot twist.
    • 79 Metascore
    • 30 John Hazelton
    Selma
    Sequences depicting the Selma marches – the first of which led to violent police attacks that were seen on national TV and helped change the mood of the country – are fairly understated, when a more visceral approach might have given the film more emotional heft.
    • 41 Metascore
    • 30 John Hazelton
    Passengers
    Part space romance, part space thriller and all space corn, Passengers is a messy and unconvincing mash-up that tries to get by on the not inconsiderable charm of stars Jennifer Lawrence and Chris Pratt.
    • 77 Metascore
    • 30 John Hazelton
    Chi-Raq
    Though it sometimes recalls the irresistibly energetic, genre-bending feel of Lee’s best films – Do The Right Thing in particular – it lacks the assurance and unifying thrust that made those features work so well.
    • 30 Metascore
    • 30 John Hazelton
    The Gallows
    The Gallows offers up few new ideas and very few genuine scares.
    • 39 Metascore
    • 20 John Hazelton
    Pirates of the Caribbean: Dead Men Tell No Tales
    Screenwriter Jeff Nathanson (Catch Me If You Can), taking over from series regulars Ted Elliott and Terry Rossio, doesn’t make much sense out of the typically (for the franchise) convoluted plot, but does manage to bring out a father-child theme that lends the film a little emotional resonance.
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