The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,866 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Youth
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5,866 movie reviews
  1. Director/screenwriter Stuart Beattie, adapting the graphic novel by Kevin Grevioux, employs a strictly humorless, gothic approach to the material that makes one long for the satirical touches of James Whale, let alone Mel Brooks.
  2. What's most remarkable about this big, dumb exploitation movie is how carefully anything approaching psychological texture appears to have been peeled away.
  3. Sometimes, deadpan observation of the mundane isn't Jarmuschian. Sometimes it's just dull.
  4. Poorly structured and at times incoherent.
  5. Ultimately, the film is as numbingly boring as, well, a lengthy train ride during which there's nothing to do but look out the window.
  6. A film that seems drained of life and ideas rather than sustained by them.
  7. Bad enough to create one of the most joyless Christmas movies ever, but then to go for an unearned feel-good ending adds insult to injury.
  8. Director Christian Alvart ("Pandorum") is unable to invest much stylization into the proceedings, and Ray Wright's by-the-book screenplay only serves as a reminder of the innumerable demon-child movies that have preceded this one.
  9. In terms of inspiration or even the slightest shred of ingenuity, Banks ranks more like an 000 than an 007.
  10. Rife with rom-com cliches and jaw-droppingly idiotic situations, the story is so off-putting that its irrationality becomes almost secondary to its pointless attempts to prove that opposites really do attract -- when they’re actually not as divergent as they first appear.
  11. This thoroughly repetitive, ill-conceived and poorly executed effort -- with an emphasis on the word "effort" -- defeats these two talented people more often than not.
  12. Viktor would be campy fun if it wasn't so relentlessly tedious.
  13. Despite a couple of unconvincingly upbeat tacked-on moments at the end, Project X basically reads as nihilistic, as not believing in or standing for anything. Not even fun.
  14. A blandly generic romantic comedy mainly notable for its largely centering on Iranian-American characters, Shirin in Love demonstrates that clichés cross all ethnic boundaries.
  15. A top-notch varied group of actors, no doubt attracted by the colorfulness of their roles, has been assembled, but their hardworking efforts are ultimately done in by the supremely pretentious nature of the material.
  16. For the most part, the proceedings are slow, solemn and tedious.
  17. Definitely third-rate Holocaust material.
  18. The sort of soft-core, erotic thriller that would benefit from a lot more trash and a lot more sex.
  19. This sentimental French farce unsuccessfully strains for laughs while lurching towards its all too predictable denouement.
  20. An aimlessly wandering DIY-indie that will send viewers retreating to popcorn movies at their local multiplex.
  21. Well, that didn't take long. Everything fun and terrific about "Iron Man," a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines.
  22. The main performers do a reasonably good job of parodying the "Twilight" leads, with Proske particularly effective in subtly lampooning Kristen Stewart's moody mannerisms.
  23. A dysfunctional drama.
  24. The PG-13 film is heavy on scenes of cloudy blood in the water but almost entirely lacking shock shots of flesh torn asunder. (And while marketing relies heavily on bikinis, the movie's light on that kind of flesh as well.)
  25. 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.
  26. After nearly two hours of nonstop mayhem, the film ends on a surprisingly muted note, though pains have been taken to make sure that the hoped-for sequel has been carefully set up.
  27. Whenever the camera settles down to record a simple conversation between two characters, things suddenly feel stilted, as if the filmmakers cannot build the drama without flinging a hundred different things in front of the lens at the same time.
  28. The production is over-stuffed with cutesy split screens, jarring dream sequences and a pushy score by Bright Eyes band members Nathaniel Walcott and Mike Mogis that succeed in dragging the proceedings from merely cloying to increasingly annoying.
  29. A wrong place/wrong time actioner stupid enough to damage the art-house credibility of actor Paul Walker.
  30. Sex Tape is sexcruciating.

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