The Hollywood Reporter's Scores

  • Movies
  • TV
For 4,933 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Avatar
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
4,933 movie reviews
  1. Though its even-tempered account may be more thorough than print and TV coverage at the time, the doc doesn't offer anything dramatic enough to draw many eyeballs at this late date.
  2. Recognizable human behavior is not this film’s forte -- which wouldn’t be a problem if something else would take its place but Punch never finds the right tone for the heterogeneous material, with sweetly melodramatic scenes alternating with high drama, some light action and farce.
  3. Wallace made a lot of shrewd decisions to sock this movie home, but he can’t entirely overcome the dramatic thinness of the original material.
  4. Pfister, who, like his mentor Nolan, adamantly continues to shoot on film (not digital), shows a sure hand at staging scenes, creating visuals and setting a tone -- if only all the diverse elements here fit comfortably under the same tent.
  5. Has its entertaining moments and boasts pungent performances from such supporting players as Ron Perlman and John C. McGinley, but never quite succeeds in managing its uncomfortable tonal shift from dark comedy to true-crime thriller.
  6. The film only intermittently displays the snap, precision and stylistic smarts a mixed-tone project like this requires; a half-good effort is not enough where buoyancy and a sly-to-mean spiritedness are required at all times.
  7. Generally succeeds -- in hit-and-miss fashion -- at bridging the gap between unlikable jerk and misunderstood good guy, though it's still something of a leap to leading-man territory.
  8. The film ultimately fails to satisfy because of the limitations of both the format and subject.
  9. The problem once again remains an inability to sustain those de rigueur elements of tension and suspense much beyond those first 20 minutes.
  10. Legally bland.
  11. Beckinsale delivers even if Underworld doesn't quite manage to follow through on its initial promise.
  12. Ethnic and sexual stereotypes receive equally clumsy treatment in this Canadian comedy.
  13. Manages the difficult feat of being simultaneously sordid and tedious at the same time and is ultimately surprisingly tame despite its unrated status.
  14. There is certainly talent on display here, but their work fails to come together into a coherent entertainment.
  15. There seem to be some impressive performances here, though it's not always easy to tell because director James Cox is always feverishly cutting away to something or other.
  16. Although cheap looking and amateurishly acted, Flesh for the Beast, which features a music score by the eccentric guitarist Buckethead, doesn't invite huge critical derision, if only for the palpable enthusiasm of both the cast and filmmaker for their gory shenanigans.
  17. This feature glimpse into the Bell Jar is an exercise in drudgery, with nothing particularly insightful or revealing to say about the charter member of the Suicidal Poets Society and the artistic endeavor in which she would make her indelible mark.
  18. Even assuming the best possible motives by its makers, Beyond Borders runs the risk of making human suffering exotic while glamorizing white disaster relief workers in the Third World.
  19. The cast, which includes Alfre Woodard and Debra Winger, manages to give thoughtful performances that salvage the film's integrity.
  20. Ends up committing the spoof genre's worst crime: becoming a tired parody of itself.
  21. Ultimately too sluggish and disjointed to have much cumulative impact.
  22. Earns an A for effort but a much lower grade in the entertainment department.
  23. A bizarre exercise in perversion that will well test even the most jaded art house audiences' appetite for the offbeat.
  24. Ultimately involves a highly contrived, melodramatic ending that wouldn't have been out of place in a '40s-era film noir.
  25. Emerges as a lackluster and nearly charmless affair.
  26. A misfire. The film that wants to be lighter than air instead crashes to earth with the swiftness of a concrete parachute.
  27. Instantly forgettable.
  28. The story is flimsy, and when the dialogue touches on controversial issues regarding the SAT and its fairness, the slacker tone turns abruptly melodramatic.
  29. Ironically, what the comedy lacks is the sly imagination and satirical underpinnings of the best sex comedies from that (Doris Day) era. Instead, exposition is poorly executed, genuine laughs come infrequently and you quickly lose confidence that the filmmakers even understand what their basic joke is.
  30. Assembling this vehicle for his young clients, music producer/manager/video director Christopher B. Stokes has attached an anemic plot to a series of dynamic hip-hop dance sequences.

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