The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,522 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Descendants
Lowest review score: 0 Exists
Score distribution:
5,522 movie reviews
  1. Billy Crystal and Bette Midler hustle to peddle the threadbare material that makes Andy Fickman's comedy a perfectly tolerable, if uninspired, moviegoing experience.
  2. As is often the case with directors who adapt their own life-histories, there's the sense that a little too close to his material.
  3. A supernatural action comedy that can never live up to its exciting opening scenes, Don Coscarelli's John Dies at the End mixes horror-tinged mayhem with smart-alec laughs but loses momentum early and gets bogged down in exposition.
  4. LUV
    Even if some of them are playing hackneyed gangster-film types, the strength of the actors makes it almost possible to forgive the formulaic plotting and artificially movie-ish developments. Candis and Justin Wilson's screenplay stretches credibility thinner and thinner as the story advances.
    • 46 Metascore
    • 50 Critic Score
    What Vishal Bhardwaj's Indian comedy brings in star power, it lacks in humor.
  5. Would have made for a fine film noir 60 years ago but feels rather contrived and unbelievable in the setting of contemporary New York.
  6. The film's failure to raise the temperature gradually leaves viewers less involved than we should be.
  7. Actually offers some decent scares before descending into typical horror film bombast.
  8. In trying to merge this alarmist theme with an old-fashioned murder mystery, the filmmakers throw at least one plot-twist sucker-punch too many, leaving the viewer with an “Oh, come on” reaction to the entire film.
  9. With Melissa McCarthy playing a one-woman demolition team who, for 95 percent of the running time, is a genuine affront to nature, there are unavoidably some laughs here, although the gifted comic actor got more of them in less screen time in her previous films than she does in this starring role.
    • 51 Metascore
    • 50 Critic Score
    Visually, the film is skin and bones. Iscove and cinematographer Francis Kenny ("A Night at the Roxbury") have the most fun with "Grease"-like dance numbers in the finale. [27 January 1999]
    • The Hollywood Reporter
  10. Nicely cast and made with as much conviction as can be brought to something so intrinsically formulaic.
    • 46 Metascore
    • 50 Critic Score
    A distinguished and able cast headed by Jeremy Irons; beautiful, mostly black-and-white cinematography; and the enchanting Prague backgrounds make for a diverting feature-length eyeful and earful, but the reconstruction of the Kafkaesque worldview never quite takes. [3 Dec. 1991]
    • The Hollywood Reporter
  11. A thriller element that has not been present in earlier Sparks movies is designed to draw reluctant male viewers to see the picture, but they won’t respond with the same enthusiasm as his core audience of woozy romantics.
  12. A curiosity telling the President's story through the eyes of longtime friend Ward Hill Lamon, it's of interest only to serious history-hounds and techies curious about its unusual green-screen production.
  13. The picture has enough entertainment value to tickle its target audience and even offers a few chuckles for accompanying adults. A strong cast and bright -- if uninspired — animation help to offset a thin story.
  14. Sanders and DeMicco’s script doesn’t have the robust plotting, consistent wit or flavorful character development of the best family animation. And some of the voice actors have too little to work with.
  15. Approaching the first half of the film fairly conventionally, Stewart then misses the opportunity to capitalize on shifting to more full-on genre mode.
  16. Deftly playing Tina Fey's feminist-icon mother, Lily Tomlin all but steals Admission, a knowing but uneven comedy about the neuroticism of the college-admission process on both sides of the equation.
  17. Stronger in concept than execution.
  18. Half comedy and half drama, the film struggles to find its tone amid stock characters and leisurely plotting, with nods to Fellini and Italian neorealism that leave the taste of a big, reheated pizza. It all should be funnier; still the atmospheric local kitsch wins some smiles.
  19. The film lacks the originality or wit to differentiate it from the countless other indie romantic comedies littering our screens.
    • 44 Metascore
    • 50 Critic Score
    Enjoyable but as familiar as the old-school routines its magician heroes dish out.
  20. This head-scratcher boasts visual imagination to spare even as its logistical complexities and heavy-handed symbolism ultimately prove off-putting.
  21. Danny Boyle has great and plainly evident fun adding twists and curves and tunnels and endless style to his modern London noir Trance, but he makes so many left turns that the film turns in on itself rather than going anywhere.
  22. Despite its fast pacing and well-staged action set-pieces, the film fails to make much of an impression.
  23. Although it has a visceral intensity, this teen-centered prison movie doesn't avoid the familiar tropes of its genre.
  24. There's something about novelist Stephenie Meyer that induces formerly interesting directors to suddenly make films that are slow, silly and soporific.
  25. Despite the solid work of cast and crew, the film dawdles and fails to justify its two-and-a-half-hour running time. Midnight reaches its tender conclusion without ever achieving the emotional or dramatic heft that such an epic tale requires.
  26. Although Andre Gregory's fans will find much here to savor, this rambling and unfocused portrait smacks of self-indulgence.

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