The Hollywood Reporter's Scores

  • Movies
  • TV
For 4,935 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 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Invisible Woman
Lowest review score: 0 3 Geezers!
Score distribution:
4,935 movie reviews
  1. An indie ethnic comedy clearly hoping to become the Jewish equivalent to "My Big Fat Greek Wedding," this well-timed offering, which arrived in time for Passover, is unlikely to have that sort of crossover appeal, or any appeal at all, for that matter.
    • 51 Metascore
    • 30 Critic Score
    A road picture mired by unsteady camera work, lackadaisical pacing and cumbersome speechmaking, Free Zone is an excruciating cinematic trek. Israeli director Amos Gitai's narrative, both visually and conversationally, is a disappointing dud.
  2. Essentially a telenovela with cinematic pretensions, La Mujer de Mi Hermano (My Brother's Wife) is a vapid slab of soap depicting a love triangle among three remarkably uninteresting characters.
  3. Lifeless and irredeemably sour. It is difficult to imagine much of an audience embracing it, despite a cast of well-knowns and up-and-comers.
  4. A grim little drama about a young woman's experiences with a left-wing cult, Alison Murray's debut feature suffers from disjointed storytelling and myriad other problems, including a bizarre reliance on modern dance sequences to interrupt the action.
  5. Bottom line: A soft-hearted gross-out pic. If you're not a male between 17 and 23 and don't find the chance to see R-rated rejects from "America's Funniest Home Videos" a good thing, The Long Weekend will be a long and pointless haul.
  6. Once the initial round of breast-feeding and rectal thermometer bits is fired off, the picture starts to give off the funky whiff of unattended Pampers.
  7. Zoom is a movie that would make Dr. Frankenstein proud. Put together with parts from so many other movies, the thing positively clanks.
  8. Beerfest is tedious and, at 112 minutes, too long to sustain a sophomoric, one-joke comedy even for the presumed target audience of older male teens and the college-age crowd.
  9. For the most part, the proceedings are slow, solemn and tedious.
  10. 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.
  11. Sharing its title with a historic Reno hotel that's seen better days (or maybe not), El Cortez is a clumsy lump of ponderous pulp fiction with "Cooler" aspirations.
  12. A misconceived washout of a darkly gothic story of madness, addiction and child abuse made all the more unpleasant by Gilliam's trademark intense visual style.
  13. The movie strands you in two miserable flats with these cliche-ridden characters and a static love story that is as predictable as it is pedestrian.
  14. Let's Go to Prison ultimately feels as long as a stint in the big house.
  15. There are a couple clever touches here and there, including one sequence in which the end of a candy cane has been carefully licked into a highly lethal weapon, but for the most part the accompanying histrionics feel more regressive than retro.
  16. A low-rent monster movie that could well have been released by American International in the early 1970s, Primeval boasts a level of cheesiness that should well merit it a regular rotation on late-night cable.
  17. A tepid ghost story filled with all the usual things that go bump in the night minus the somewhat crucial element of suspense, this bland effort from Sam Raimi and Rob Tapert's Ghost House Pictures is surprisingly devoid of the creepy, claustrophobic atmospherics that haunt the brothers' Asian work.
  18. All of [Cages's] natural charisma is unable to compensate for the plodding narrative and thin characterizations.
  19. This silly film does nothing to enhance Taiwanese auteur Tsai Ming-liang's reputation. The acting is below par, the mise-en-scene is clumsy and the structure is lazy.
  20. At best a kitschy "Catch Me If You Can" and at worst a tedious comedy that grows more tiresome by every self-consciously irreverent minute.
  21. Loaded with obtuse symbolism, the film is not only hard to understand, it isn't much fun trying to figure it out.
  22. The star wattage quickly dims in this slick-looking but ringingly hollow affair that starts off generically at best before collapsing into a convoluted heap of shrill screen cliches.
  23. The hilariously dirty insult comic Lisa Lampanelli shows up all too briefly as Engvall's shrewish wife.
  24. Proves to be more prone to malfunction than dysfunction.
  25. Overlong and overstuffed with cliches -- the movie doesn't seem to realize how close it comes to comedy.
  26. Pretentious to the core and lacking any context or credible characterizations.
  27. Longing makes you long for a good movie. Tedious and long-winded even at 90 minutes, this German film, written and directed by Valeska Grisebach, tells a mundane tale of adultery that lacks even the slightest insight.
  28. A thoroughly undistinguished addition to a genre that probably reached its peak a quarter-century ago with "An American Werewolf in London."
  29. Ultimately this is utterly forgettable stuff, not even managing to fulfill its mandate of mindless summer fun.

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