The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,188 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Joshua
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
8188 movie reviews
  1. Jonas is, it should be said, the most likeable thing about this watered-down noir.
  2. The ‘70s recreation is reasonable -- there are plenty of vintage cars and pop tunes of the moment -- but the characters never register beyond the surfaces of the scenes despite being equipped with long-festering resentments and grudges.
  3. The silliness of the conceit is far from the biggest problem in a picture that has no clue what to do with the wealth of talent in front of the camera.
  4. Its central conceit is so nonsensical that even devoted horror buffs may balk.
  5. 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.
  6. Director Benjamin doesn't really handle the material with the outrageous excess it deserves, with the result that the proceedings seem far too mild.
  7. Leonard and Foley offer enough semi-naked sex scenes here to prove that quantity is no substitute for chemistry.
  8. A paranormal mystery without a spine. It has no suspense because it has no belief in itself.
  9. Fails to exploit the myriad comedic possibilities, settling instead for broad, unconvincing slapstick aimed at 12-year-olds and gags Shakespeare would have rejected as ancient.
  10. A grindhouse slasher picture that swings from dull to ridiculous without finding any pulpy pleasure in between.
  11. Absolutely Anything is a flabby misfire full of labored slapstick, broad caricatures and groaningly absurd plot twists.
  12. As puerile and go-nowhere as the script is, Clement and Berry are more successful than their costars at making the dialogue their own. Clement even gets a laugh or two. But be assured that the pic's big reveal is not worth the wait.
  13. The result proves to be as appealing and effervescent as a flute of flat champagne.
  14. What the problem comes down to is a group of filmmakers making misguided choices in an effort to broaden the movie's demographics beyond those who attend X Games.
  15. The Banishment (Izgnanie) starts off like a thriller with a car roaring into the city and a clandestine surgery by a man to remove a bullet in his brother's arm. Then, ever so slowly, the movie falls into the clutches of long, solemn stares into space, meaningful drags on cigarettes, cryptic dialogue revealing little and a tiny drama that feels old, tired and empty of real purpose.
  16. Despite the world-changing ramifications inherent to the plot, the results are more tedious than thrilling.
  17. A laugh-starved comedy that seeks to plug into the comic stylings of Mo'Nique for its energy and humor.
  18. Loosely inspired by real events, the plot is time-scrambled and non-linear, hinting at Quentin Tarantino levels of post-modern playfulness that sadly never materialize.
  19. One of the unfunniest comedies ever. Punch lines are lifeless. Characters are borderline catatonic. Running gags can't even walk.
  20. Lead actor Johnny Simmons fits his role perfectly, his baby face giving him the suitable appearance of an overgrown adolescent. But the smutty, tired material with which he has to work is surprisingly devoid of laughs.
  21. This second feature based on a best-selling book by Jim Stovall is mainly repetitive in its themes and suffers from a melodramatic plotline and hamfisted execution.
  22. It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.
  23. This lame comedy about a big doofus who enters the fight game manages to take every cliche in the book and render them even more cliched.
  24. If the target audience for this film were any younger, they'd be embryos.
    • 34 Metascore
    • 30 Critic Score
    Seldom has such great star power been marshaled in the service of a sillier movie than The Other Man.
  25. Beneath gets capsized as much by its knuckleheaded script as by its somewhat risible giant flesh-eating fish.
  26. Fails to rise above the inherent sordidness of the subject matter. It’s indifferently acted and directed, though it generates a measure of suspense and queasy fascination.
  27. Stale as week-old bread and every bit as bland, the movie saddles a strong cast with a groaningly ineffectual script (courtesy of Michael LeSieur, who wrote 2006’s You, Me and Dupree) and wastes the director’s gift for bringing lived-in charm and feeling to broad comic premises.
  28. Fix
    The sole redeeming factor is the presence of Olivia Wilde (Fox's "House"), who manages to keep the proceedings watchable for at least a portion of the running time.
  29. The movie only wakes up when Hart and/or Arkin are on screen (preferably together).

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