Tomas Hachard

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Slant Magazine
For 32 reviews, this critic has graded:
  • 12% higher than the average critic
  • 3% same as the average critic
  • 85% lower than the average critic
On average, this critic grades 22.2 points lower than other critics. (0-100 point scale)

Tomas Hachard's Scores

  • Movies
  • TV
Average review score: 43
Highest review score: 88 Omar
Lowest review score: 0 Persecuted
Score distribution:
  1. Positive: 11 out of 32
  2. Mixed: 5 out of 32
  3. Negative: 16 out of 32
32 movie reviews
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    • 32 Metascore
    • 25 Tomas Hachard
    My Name Is Hmmm...
    The feeling here was perhaps intended to be impressionistic and elusive, but the result is instead rambling and unfocused.
    • 52 Metascore
    • 38 Tomas Hachard
    Rudderless
    It unnecessarily hampers itself for over an hour for the sake of a gotcha moment before finally allowing its actors to explore something more than generic grief.
    • 42 Metascore
    • 38 Tomas Hachard
    Good People
    It only overcomes its deficiencies and gains a modicum of entertainment value precisely when it commits to its illogical storylines and exaggerated plot twists.
    • 37 Metascore
    • 12 Tomas Hachard
    Are You Here
    The female characters on Mad Men are probably the show's strongest asset, but here they're hollow to the point of insult.
    • 11 Metascore
    • 0 Tomas Hachard
    Persecuted
    There's no attempt to convince us that the world is being corrupted by people who haven't accepted the Gospel; it merely assumes we agree with that idea.
    • 61 Metascore
    • 25 Tomas Hachard
    The Hornet's Nest
    It becomes clear pretty quickly that Mike and Carlos Boettcher's insider perspective allows for close to no context beyond what their cameras directly capture.
    • 41 Metascore
    • 25 Tomas Hachard
    The Truth About Emanuel
    What's missing, in the end, is any provocative or poignant insights into the "truth" about Emanuel; all we get are vague hints.
    • 37 Metascore
    • 12 Tomas Hachard
    Cold Comes the Night
    Tze Chun's film exudes no flair in rehashing the violence and suspense of its predictable noir-thriller material.
    • 55 Metascore
    • 25 Tomas Hachard
    Hours
    The film's fealty to history is both unnecessary and a hindrance, pulling us out of a story that could have easily been set in an anonymous city hit by a nondescript hurricane.
    • 36 Metascore
    • 25 Tomas Hachard
    Best Man Down
    While it tries to relate a story about the sloppiness of life, the way best-laid plans can go wrong in an instant, its script is neatly and tidily structured.
    • 30 Metascore
    • 25 Tomas Hachard
    CBGB
    As the film moves from one musical performance to another, the result increasingly feels like a series of celebrity impersonations set to a best-of-punk compilation album.
    • 39 Metascore
    • 12 Tomas Hachard
    Zaytoun
    It misfires in tone, depth, and political tact, dumbing down rather than providing new insights into the Israel-Palestine conflict.
    • 50 Metascore
    • 12 Tomas Hachard
    Afternoon Delight
    Jill Soloway's film is dishonest in the way it attempts to mask self-pity as enlightened self-criticism.
    • 35 Metascore
    • 12 Tomas Hachard
    Drift
    The obstacles that the Kelly brothers encounter are as uninspired as the film's treacly lessons about brotherhood and staying true to one's principles.
    • 33 Metascore
    • 12 Tomas Hachard
    And Now a Word from Our Sponsor
    It's a testament to Bruce Greenwood's acting that Adan never becomes entirely as insufferable as the words that come out of his mouth.
    • 60 Metascore
    • 38 Tomas Hachard
    The Iceman
    Michael Shannon has no interior to play with, since the film seems intent on ridding Richie of any emotion other than love for his family, and also no catharsis to build toward.

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