The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,373 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Best of Enemies
Lowest review score: 0 I Know Who Killed Me
Score distribution:
8373 movie reviews
  1. Once again, Reeves does not disappoint, fully inhabiting Wick by channeling his rage over life’s injustices into an intensely focused performance.
    • 63 Metascore
    • 80 Critic Score
    Whether viewers show up for the controversy or for the Bollywood star power of its charismatic leads, they should emerge impressed by its dazzling visuals and Bhansali’s masterfully composed and executed musical numbers.
  2. Raso takes Kodachrome (shot entirely on Kodak motion picture film) as a departure point to keenly deconstruct the bonds that hold families together and the betrayals that drive them apart, relying on an unshowy style that emphasizes the actors’ captivating performances.
  3. Though the story is fictional, the imagery is grounded in a powerful documentary reality.
  4. Finding smart ways to bring novelty to the franchise without forsaking what made the original so much fun (and in fact doubling down on some of those qualities), Barry Sonnenfeld's Men in Black 3 easily erases the second installment's vague but unpleasant memory and -- though we might hope producers will quit while they're ahead -- paves the way for future installments.
  5. While this is fascinating material, it's the flawed human behavior it exposes that makes the story so compelling. And yet what elevates Marsh's film is the even-handedness of his perspective.
  6. Co-directors Nicholas Stoller and Doug Sweetland deliver big time with Storks, a fittingly buoyant, delightfully madcap animated romp.
  7. Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress.
  8. The excellent film combines a wealth of archival material with the reminiscences of an unforgettable group of octogenarian women who were champion swimmers when Hitler annexed Austria in 1938.
  9. Fury is a good, solid World War II movie, nothing more and nothing less.
  10. Featuring generous doses of raucous humor as well as a haunting atmosphere of dread as Tommy and Rosie’s exploits prove increasingly dangerous, Rob the Mob is a true-crime tale that boasts an uncommon emotional resonance.
  11. Scorsese has crafted a rip-roaringly gorgeous-looking, beautifully acted biographical epic. But while firing on all cylinders, there's something oddly distancing about the picture.
  12. In Porumboiu’s movies, what you see is never what you get, and there are riches to be had if you just keep looking.
  13. The Opera House is a feast for opera lovers and anyone interested in urban planning.
  14. The movie is filled with small moments of tenderness, insight and considerable wisdom.
  15. Instantly proves itself an invaluable historical document. Shot verite-style with no narration, soundtrack or other embellishments, Tahrir: Liberation Square simply depicts the events of late January and early February 2011 with a vital immediacy.
  16. As it sheds light on these women’s experiences and the larger issue of homelessness among female vets, the film grows deeply engaging.
  17. Infusing its nightmarish scenario with bracing doses of satirical humor, Tunnel is smarter and more sophisticated than most Hollywood attempts at the genre.
  18. Turning away from his highly entertaining epics "Hero" and "House of Flying Daggers," Zhang Yimou goes for utter simplicity in Riding Alone for Thousands of Miles, a film of much distilled wit and wisdom.
  19. A trove of great stills and movie footage accompanies the colorful anecdotes, but the film's most consistent pleasure is the way interviewees recall the moments before the tape rolled on an immortal recording.
  20. The new "Freaky" plays the obvious gags in ways both surprising and imaginative.
  21. Kim Ki-duk keeps dialogue to a minimum and actions simple in what is virtually a two-character piece. Humor arrives organically, often resulting in hearty laughs.
  22. In his first narrative feature, documentarian Nitzan Gilady demonstrates an assured grasp of visual storytelling, using a stunningly rugged desert setting that’s as much a character as the film’s perpetually sunny, intellectually challenged 24-year-old and her world-weary mother.
  23. Most notable for its evocative photography of the bleak Oklahoma landscapes and for the memorable turns by its two leads, who bring a haunting, world-weary gravitas to their performances that feels utterly authentic.
  24. Elegant and unsentimental, this is a minor-key, wintry ensemble piece with an emotional hold that sneaks up on you.
  25. The film repays patient viewing as it evolves into an engrossing, nuanced, philosophical drama.
  26. Fulfills the requirements of grand-scale moviemaking while serving as a timely reminder that in the conflict between Christianity and Islam it was the Christians who picked the first fight.
  27. A few bumpy patches notwithstanding, the new feature is an exquisitely designed, emotionally absorbing work of dark enchantment.
  28. Smart, visually appealing, and consistently engaging.
  29. Though the emotional pull of this love triangle grows more compelling in the second half, for much of its running time November prefers to beguile us with the strangeness of its setting and characters.
  30. Another charmingly eccentric exercise in meta-fiction from Portugal's offbeat new directing star Miguel Gomes, Tabu chooses to explore its characters without following narrative rules, or rather, by reshuffling hackneyed tropes from film and novels to turn them into strange, modern entertainment.
  31. Audacious, confident and fueled by youthful energy.
  32. A pungently immersive evocation of traveling on Chinese trains.
  33. The film yanks the viewer to attention with its keen sensitivity to the rough winter conditions and limited prospects faced by the locals. It also features one of Jeremy Renner’s best recent performances, but does fall into some traps when it ventures into Tarantino and Peckinpah territory.
  34. A well-made and entertaining descent into a black-comic hell.
  35. In the revisionist Marie Antoinette, writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections.
  36. By contrasting what the investigators are trying to uncover with the youthful adventures of the children, Dumont seems to suggest that the world of adults, despite appearances, is so rotten that it can only be stomached and perhaps even saved by two things: laughter of the tragicomic kind and a child-like innocence that somehow needs to be maintained into adulthood.
  37. The secrets revealed here are not quite as shocking as the hints of child molestation captured in "Friedmans." Still, this is an equally intriguing and unsettling look at the turmoil hidden behind the white picket fences of suburbia.
  38. A rollicking adventure through worlds both bleak and fantastic, Steven Spielberg's Ready Player One makes big changes to the specifics and structure of Ernest Cline's best-selling novel but keeps the spirit and level-up thrills intact.
  39. Allen turns the character into a tour de force that unleashes an unexpected comedy about compassion and self-loathing.
  40. An elegant meditation on one of the most distinctive bodies of work in contemporary art.
  41. A highly enjoyable look at a career spent duping the art world.
    • 64 Metascore
    • 80 Critic Score
    The best Australian film to hit local screens in more than a year. Although lacking any internationally renowned actors to win more than limited release, the film's energy and stylistic daring mark it as a true original.
  42. A disturbing drama of teen disaffection, Vincent Grashaw’s feature provides an essential and insightful perspective that will resonate with audiences attuned to the challenges of adolescence.
  43. An affecting emotional journey as well as a telling example of how the fortuitous intervention of social media continues to reshape lives in unexpected ways.
  44. A polished, finely acted tale of love and class in the south of France.
  45. If the feature film reached for, and often failed to achieve, great emotions to match its imagery, the non-contemplative Imax Experience seems even farther from this goal. Vastness and infinity are all fine and good, but the beauty of the universe tends to feel monstrous and inhuman without an element of human chaos to counterbalance it.
  46. Gerard Johnstone, a first-time writer-director from New Zealand, demonstrates a sly command of deadpan humor along with an assured grasp of seasoned horror tropes.
  47. Anyone looking for subtlety, character development or layered plotting will be disappointed, but action fans will find plenty to amuse them with this film that makes "Hard-Boiled" look restrained.
  48. With fierce arguments, often drawn on partisan lines, raging across the country, The Lottery will be of vital interest to anyone interested in the topic, especially the parents of young children.
  49. With all farces, timing and rhythms are absolutely crucial and Zulawski — working with editor Julia Gregory — maintains a disarming brio from the very first seconds.
  50. Strong, entertaining portrait of a hard-to-pin-down online phenomenon.
  51. Shari Springer Berman and Robert Pulcini's Ten Thousand Saints offers both a premise and a setting ripe for nostalgic sentimentality but indulges in little of it.
    • 78 Metascore
    • 80 Critic Score
    Wholly one-third of the country, some 11 million people, watched the finale. Marking's film is too astute to pretend that such fleeting things can bring about peaceful democracy, but it's also perfectly aware that they certainly can't hurt.
  52. Funny, fascinating, and packing a surprisingly poignant twist, the doc will get plenty of free publicity and, for unsqueamish moviegoers, will live up to the hype.
  53. Rising well above the typical making-of feature, the documentary will fascinate buffs when shown alongside the operas themselves.
  54. Funny, bitter and sometimes bleak, the picture draws much of its appeal from a deadpan performance by star Matti Onnismaa.
  55. Restrained, affecting and tenderly observed with a distinctly female gaze, the film takes some time to locate its center as an intimate drama of resilient sisterhood. But the delicacy of the bond etched between Fishback's Angel and her 10-year-old sibling, played by captivating discovery Tatum Marilyn Hall, keeps you hooked into this melancholy but hopeful story of fractured family dynamics.
  56. Fugitive Pieces has a sharp, devastating story to tell.
  57. Past lives and ancient ancestors are evoked through conversations that are both cryptic and oddly matter-of-fact, in a work that has the realistic vibe of a documentary but the unearthly qualities of a sustained reverie.
  58. Making a convincingly assured feature debut, TV and web series writer-director Carey's script nails the raunchy-sweet tone required to bring off this R-rated teen-centered comedy with remarkable charm and relatability, mining a rich vein of girl-centered sexual curiosity and experimentation "loosely inspired" by personal experience.
  59. Elizabeth Olsen steps onto the radar as a seriously accomplished actor in this mesmerizing drama, which also marks an assured feature debut for writer-director Sean Durkin.
  60. Taken strictly on its own terms, Saving Mr. Banks works exceedingly well as mainstream entertainment.
  61. The director also pulls career-high performances from Mezzogiorno and Timi that are, respectively, tragic and mesmerizing.
  62. The fact that a genre entry of this nature, with no intrinsic need of being philosophically nuanced, goes out of its way to endow even its ostensible villains with comprehensible motives rates as a notable achievement.
  63. After building up a narrative head of steam, the film relaxes too much back into expository documentary form. What might have been thrilling is merely entirely engrossing.
  64. What distinguishes it are its intelligent, unsentimental screenplay, which only occasionally lapses into emotional manipulation; the assured direction by Yukihiko Tsutsumi; and the superb acting.
    • 64 Metascore
    • 80 Critic Score
    It's an unforgettable, visceral journey into the heart of darkness.
  65. Despite all appearances, Personal Problems is indeed moving toward a fairly conventional end. But along the way, it observes much of its era through the corners of its eyes.
  66. Amiel's greatest achievement is that Creation is a deeply human film with moments of genuine lightness and high spirits to go with all the deep thinking.
  67. As much as Don't Think Twice focuses on professional envy, though, it remains a love letter to this weirdo art form called improv.
  68. Although not exactly breaking any new ground with its by now all too familiar found-footage format, Paranormal Activity 3 hews to the formula in expertly crafted fashion, mustering up the requisite scares and then some.
  69. Entertaining and even poignant.
  70. Moving historical drama brings a fascinating chapter of art history to life.
  71. Unfolding like an espionage thriller but with a methodical journalistic skill at organizing a mountain of facts, the film raises stimulating questions about transparency and freedom of information in a world in which governments and corporations have plenty to hide.
  72. The experiences and challenges of the rural poor might make it into the national conversation as an abstraction, but rarely with the specificity of this intimate portrait of a black community.
  73. The blissfully silly Blades of Glory is one of those rare comedies that puts a goofy smile on your face with the premise alone -- and keeps it planted there right until its wacky finale.
  74. The directors never lose sight of the struggles and the hard work that go along with his calling.
  75. Katie Says Goodbye is a plaintive story of hard luck and fringe dwellers, one that might have felt clichéd in lesser hands. But first-time filmmaker Wayne Roberts conjures new, resonant chords in his taut, tender drama.
  76. Zoo
    Whether meaning to or not, Devor and his accomplished crew expand our concept of the documentary film, which relegates this documentary to art houses, not porn theaters.
  77. Electrifying and alarming film.
  78. East meets West in a beguiling, old-fashioned romantic comedy set in today's global economy.
  79. My Golden Days more often privileges emotional truths over historical veracity. This helps not only to make the past dilemmas of the protagonists feel more immediate and real, but also suggests how, looking back, we see our lives as a succession of emotional experiences, not dry historical facts.
  80. Rock solid performances by up-and-coming German actress Julia Jentsch as Sophie and Alexander Held ("Downfall") as Mohr along with an excellent cast of supporting players insure that no one mistakes this for a lifeless docu-drama.
  81. First-time director Dean does an excellent job of marshalling old source material, setting the scene for an account of Lamarr's life on- and off-screen.
    • 65 Metascore
    • 80 Critic Score
    The same organic characterizations that marked Lawrence's acclaimed 2001 film "Lantana" will attract fans of strong adult drama.
  82. A "little" film with a great reach.
  83. Shines a much deserved spotlight on this unheralded artist.
    • 80 Metascore
    • 80 Critic Score
    Genuinely sweet, beautifully constructed documentary.
  84. While this may be the actor-director’s most polished feature yet, it’s far from a traditional suspense movie.
  85. It feels like a gift from one outstanding character actor to another, but never one that indulges the thesp at the expense of the film.
  86. It will never be confused with the groundbreaking "Who Framed Roger Rabbit," but when it comes to a zippy live-action-meets-animation kid flick with plenty of grown-up gags, Looney Tunes: Back in Action does not disappoint.
  87. Should be mandatory viewing for those interested in the dominant intersection between religion and politics.
  88. Achieves its goal of shining a spotlight on its subject while delivering a fascinating true-life tale.
  89. It's a typically poetic film, rich in powerful imagery, which sees a bitter personal tragedy unfold against the major events of 20th century Greece. Although the director doesn't mine any new ground here, either in terms of style or content, it's still a pleasure to sit through nearly three hours of perfectly controlled, visually evocative filmmaking.
  90. Historical drama set in the early days of the French revolution is intelligent Euro eye candy at its most lavish.
  91. The lovely, unpredictable comedy Duck Season marks the arrival of a fresh talent in writer-director Fernando Eimbcke. His script is vibrant with unforced humanist observations, the performances are natural and endearing.
  92. Tony Kushner's densely packed script has been directed by Spielberg in an efficient, unpretentious way that suggests Michael Curtiz at Warner Bros. in the 1940s, right down to the rogue's gallery of great character actors in a multitude of bewhiskered supporting roles backing up a first-rate leading performance by Daniel Day-Lewis.
  93. A compelling and illuminating story of four people who form an unlikely and momentary friendship of considerable depth.
  94. Wim Wenders' stylish 3D mirrors the bizarrely captivating world of choreographer Pina Bausch.

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