The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,652 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 Girlhood
Lowest review score: 0 The Do-Over
Score distribution:
7652 movie reviews
  1. An eye-opening sociological examination that is alternately moving and tedious.
  2. The film reveals the influence of director/co-writer Werthman's profession because it adopts a highly clinical and thoughtful rather than exploitative turn. Although at times one wishes for a little more heat, of both the dramatic and erotic variety, there is an admirable intelligence and restraint on display.
  3. Although its formulaic storyline...holds no surprises, the film nonetheless exerts a certain charm.
  4. Sam Eidson is perfect for the lead role, but that doesn't exactly guarantee the fanboy crowd will embrace the film.
    • 61 Metascore
    • 60 Critic Score
    Shows tremendous control and discipline, especially for a young filmmaker on her first feature. Director Julia Loktev might be working on a profoundly low budget, but her camera work and lighting are precise and imaginative.
  5. The poignancy of Hanks's reading of Waitstill's letters — that old staple of Ken Burns documentaries — personalizes the tale, but doesn't make this story as compelling as many feature-film (or even documentary) treatments of similar WWII rescue tales.
  6. Director George Hickenlooper captures the energy and ultra-irony of Warhol's scene, but his attempts to give the film a conventional biopic arc end up wallowing in dime-store psychology.
  7. The visual effects are stellar, but the true star is Smith, who again demonstrates acting chops as well as effortless charisma in a vehicle that's only occasionally worthy of his superhuman skills.
  8. The film, which feels attenuated despite its brief running time, doesn’t dig deep enough to provide more than an impressionistic portrait.
  9. The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
  10. Convincing in its depiction of late-20s romantic anxiety (if not of that age bracket's real estate realities), it is broadly appealing without bowing too deeply to formula.
  11. The plot, of course, is merely an excuse for an endless series of gags, and the percentage of them that score is fairly high. But since the jokes are based over and over on the fact that Lloyd and Harry are really, really dumb, a certain repetitive factor sets in.
  12. Though convincing in its argument that pimps and clients are treated much better than they should be in our legal system as compared to prostitutes, the film presents a picture of America's sex-trade landscape that will feel incomplete to many viewers.
  13. The film constantly toys with the expectations of both its characters and the audience, transforming a classic three-way tale of mistaken identities into something much more mysterious and troubling.
  14. Resembling a short story more than a narrative feature, the film tells its slender story in leisurely fashion, relying more on mood and atmosphere than dialogue or character development.
  15. This offbeat indie chiller benefits from colorful cinematography and bits of satisfying butchery, even if a less than airtight scenario fails to make it run efficiently.
  16. Speaking his (Rourke) lines in an unintelligible accent that occasionally requires subtitles and wearing a white suit that never seems to get bloody even when he’s stabbing people to death, the actor brings an undeniably fascinating strangeness to the otherwise familiar proceedings.
  17. Very much a work of its time, the documentary offers unique perspectives for fans of both the saxophonist and the pioneering filmmaker, but is unlikely to attract a broad audience beyond those camps.
  18. Guardians of the Galaxy Vol. 2 plays like a second ride on a roller-coaster that was a real kick the first time around but feels very been-there/done-that now.
  19. While the intriguing setup pulls you in, this gentle American heartland story peters out into an unsatisfying payoff.
    • 67 Metascore
    • 60 Critic Score
    The film's good points, though, are marred by a slow start and a nerve-jangling soundtrack.
  20. The saving grace to the utter predictability in Christina Mengert and Joseph Muszynski's screenplay is reasonably personable characters and spirited acting by director Bruce Beresford's cast.
  21. A bit too rambling and diffuse to be fully educational, We Weren't Just Bicycle Thieves nonetheless serves as a valuable introduction to its subject.
  22. Patrick McGrady's documentary strains to reconcile its conflicting moods, but Fry's gushing enthusiasm for the subject is ultimately if sometimes queasily infectious.
  23. It's chiefly notable for Cara Seymour's nuanced supporting turn as Anna's sometime best friend, Kate.
  24. Boasts appealing leads and dazzling court play, but the film never rises above its by-the-numbers plot to generate emotional heat.
  25. Whatever the filmmakers' subtextual intentions may be, the film certainly gets stronger and more compelling as it goes on, thanks in part to intense emoting on the part of its cast, with Harris, Keeley and especially Soller standing out particularly.
  26. [Marquardt's] film sustains tension and is arrestingly lit and shot, exhibiting a sharp eye for expressive compositions and a persuasive feel for the sheer alienating physical density of New York City life.
  27. A minor addition to the Korean action cinema canon, The Merciless offers thin pleasures in a glossy package.
  28. This plot-heavy suspense flick loses some of the book’s originality in translation while failing to channel its sense of Midwestern malaise. But it keeps the guessing game going long enough to compensate for some otherwise shallow characterizations, while Theron offers up an earnest and downbeat turn that says a lot with little dialogue

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