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Hal Hinson

Film Critic

United States

Poetic Justice (1993)

Publish Date: July 22, 2019
"It's more a brave movie than it is a good one, but at least Singleton has faced the unknown. And he deserves credit for the attempt."

The Washington Post
Bullets over Broadway (1994)

Publish Date: October 23, 2018
"The most substantive, accessible -- not to mention the funniest -- film that the prolific writer-director has made in years."

The Washington Post
Bird (1988)

Publish Date: October 13, 2018
"Eastwood has succeeded so thoroughly in communicating his love of his subject, and there's such vitality in the performances, that we walk out elated, juiced on the actors and the music."

The Washington Post
Hamburger Hill (1987)

Publish Date: August 27, 1997
"A deeply affecting, highly accomplished film"

The Washington Post
Basquiat (1996)

Publish Date: August 15, 1996
"It touches on all the square cliches about the tragic life of the misunderstood artist (...) The whole movie, in fact, is fuzzy and evasive on most of the important points"

The Washington Post
Stealing Beauty (1996)

Publish Date: July 27, 1996
"Bertolucci's voice is stronger, clearer and more effortlessly confident than it has been in years. He's stolen the beauty of Tuscany and his youthful star and transformed it into an exquisite work of movie art."

The Washington Post
Trainspotting (1996)

Publish Date: July 25, 1996
"A cocktail of scuzzy charm, nerve and despair that seduces and repulses"

The Washington Post
Phenomenon (1996)

Publish Date: July 2, 1996
"This hokey hymn to the common man is soupy and semi-mystical in the flaky manner that has characterized such uplifting movies as 'Mr. Holland's Opus'"

The Washington Post
The Birdcage (1996)

Publish Date: March 7, 1996
"One of the loopiest, most hysterical family-values movies ever made (...) However, there's nothing subtle about the movie's message of inclusivenes"

The Washington Post
Four Rooms (1995)

Publish Date: December 24, 1995
"We're treated to some unfunny weirdness (...) [A] trifling fiasco"

The Washington Post
Heat (1995)

Publish Date: December 14, 1995
"The problem is not so much that the conceit doesn't work as it is that the director has overdressed it (...) The movie never transcends the limitations of its Hemingwayesque, men-with-men attitudes"

The Washington Post
Mighty Aphrodite (1995)

Publish Date: October 26, 1995
"[It] seems strangely impersonal (...) At best 'Mighty Aphrodite' plays like an elaborate intellectual rationalization for questionable, if not creepy, behavior.

The Washington Post
Blue in the Face (1995)

Publish Date: October 19, 1995
"An unpredictable, occasionally amusing, wildly uneven portrait of a neighborhood struggling to hold on to its identity."

The Washington Post
Mallrats (1995)

Publish Date: October 19, 1995
"What Smith can't do, though, is direct. At times, his control is so tenuous that the movie seems on the verge of collapsing altogether (...) The film does have a surprising sweet spirit, however, and a lot of laughs"

The Washington Post
Get Shorty (1995)

Publish Date: October 19, 1995
"If you thought John Travolta was divine in "Pulp Fiction," just wait till you see how suave and winning he is in 'Get Shorty'"

The Washington Post
Assassins (1995)

Publish Date: October 5, 1995
"Noisy, shallow and glibly violent."

The Washington Post
Devil in a Blue Dress (1995)

Publish Date: September 28, 1995
"[It] confirms Franklin as an efficient, tough-minded screenwriter with a compelling moral vision of the way the world works and the directorial talent to bring it to life"

The Washington Post
Beyond Rangoon (1995)

Publish Date: August 24, 1995
"[The last part of the film] is so tense that the earlier doldrums are almost forgotten. 'Beyond Rangoon' is an odd movie, brilliant in places, but frustrating all the same."

The Washington Post
The Usual Suspects (1995)

Publish Date: August 17, 1995
"It's unbelievably complicated, but in a way that drags you deeper in (...) The movie boasts a wealth of rich character performances (...) After the movie you're still trying to connect the dots and make it all fit"

The Washington Post
Clueless (1995)

Publish Date: July 18, 1995
"While Cher and the other characters here may seem vacuous and spoiled, Heckerling—who wrote the script as well—is a gentle satirist (...) Her portrait is affectionate and, in places, even sweet"

The Washington Post

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