The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,365 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Blade Runner
Lowest review score: 0 Dirty Love
Score distribution:
7365 movie reviews
  1. The track records of the performers are impeccable, but Issit has obviously never watched an awards show or similar event where comedy actors appear unscripted. Placing the weight of such a preposterous storyline on their improvisational shoulders was a disaster waiting to happen. And it happened.
  2. Loaded with obtuse symbolism, the film is not only hard to understand, it isn't much fun trying to figure it out.
  3. Director Alex Proyas resolutely thinks in B-movie terms. Even with an A-list budget, he oversells every plot point and gooses the thrills with hokey lighting, bombastic music and serious overacting.
  4. Thematically diffuse, tonally inconsistent and blighted by an inauthentic feel for its story’s time and place, it sits awkwardly between sober human drama and lighter dysfunctional-family turf, constantly striving for unearned emotions.
  5. Lincoln's script has no knack for the pacing of cinematic exorcisms, and the truncated climax he does offer is short on action and scares.
  6. The lurid and unconvincing Shut In should have lived up to its title.
  7. It has all the flaws of the recent Bradley Cooper vehicle Burnt, only without the sex and the charm.
  8. What finally undoes the struggle to maintain suspense is Goyer's dialogue, which is consistently hokey.
  9. The film’s reluctance to fully explore its provocative moral conflict renders it terminally bland.
  10. Cooper weaves a few well-placed observations about gun culture and male condescension into the heavy-handed mess.
  11. Although he can’t quite get a grip on guiding the lightweight narrative, Zada demonstrates a fluid visual style, particularly in the complex sequences filmed in the forest settings.
  12. Muddled and uninteresting.
  13. The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
  14. By the time they're done with all the tinkering, "Scooby-Doo" ends up bearing as much a resemblance to Hanna-Barbera as the recent "Cat in the Hat" did to Dr. Seuss.
  15. Irving and screenwriter Peter Warren find it surprisingly hard to milk the charms of performers like Amy Sedaris and Justin Long for laughs.
    • 39 Metascore
    • 30 Critic Score
    The technical aspects of Mohenjo Daro prove to be a major disappointment.
  16. The results might make for some swell production stills, but as a motion picture, Teknolust never really makes it alive out of Hershman's head.
  17. Lee's latest rambles through almost two hours of unfocused drama, burdened with endless didactic editorializing, before lurching out of nowhere into ugly revelations and violence.
  18. Very little about what happens is very interesting, with the contrived situations and artificial-sounding dialogue giving the proceedings the strained feel of a mediocre off-Broadway play with a misjudged air of profundity.
  19. A bland, formulaic picture where romance and comedy are noticeably absent. A more wooden and uninspired effort from talented people behind and in front of the camera is difficult to imagine.
  20. Faith of Our Fathers is undone by its wobbly tone, hokey script and amateurish execution.
  21. One of those not-rare-enough limp comedies that leaves viewers wondering who managed to round up so much underexploited talent.
  22. A horror film that relies on a silent child to adequately convey terror is starting off with a significant handicap, one that The Unspoken never manages to overcome.
  23. Casa feels like a miss. The digging into each of these women's lives stays shallow and seldom uncovers anything unexpected.
  24. The cinematic axiom of diminishing returns appears to be catching up with Robert Rodriguez’s Machete franchise in only the second installment, as the series’ engagingly lowbrow concept gets overwhelmed by episodic plotting and uninspired, rote performances.
  25. Despite the artistic flourishes, this is still an utterly repellent look at a psychopath who does not deserve the attention of the filmmakers or the audience.
  26. As banal as its title, USS Indianapolis: Men of Courage lacks even the impact of the monologue about the subject delivered by Robert Shaw in Jaws.
  27. Instant fodder for drinking games, Dangerous Men is a grand testament to its filmmaker's undeniable passion, tenacity and complete lack of talent.
  28. With its faux small-town values, faux countercultural ethos and faux personal struggles, Rita Merson’s debut feature skews closer to delusion than honesty.
  29. The sequel retains not only the same gimmicky premise as the original but its preference for cliche-ridden dialogue and flat-footed comedy as well.

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