The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,831 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: 61
Highest review score: 100 Mr. Turner
Lowest review score: 0 I Know Who Killed Me
Score distribution:
7831 movie reviews
  1. Every word of the story may be true, and if it happened to someone you knew, you'd be captivated. In Jamesy Boy, though, it's hard to see why we should care.
  2. Screenwriter Adam Chanzit and director Gabriel Cowan don’t have the same flair for eloquent dialogue or vivid character creation. Instead they offer a lot of turgid exchanges filled with regret and recrimination.
  3. Everything is spelled out literally and at a stultifying pace, in a story that might have worked onscreen as either heightened melodrama or farcical comedy. Instead Fontaine, who is not exactly blessed with a light touch, opts for misplaced sincerity.
  4. The writing is rudimentary and the direction often awkward, but Mo'Nique would confound a veteran director.
  5. No one on the creative side has his eyes on the characters, so they flounder in a sea of misguided energy.
  6. It's a good thing that forgiveness is a predominant theme of Woman Thou Art Loosed: On the 7th Day, because viewers will have to look deep into their hearts to forgive this kidnapping drama for its heavy-handed melodrama and tawdry plot elements.
  7. The overwrought, uncontrolled sci-fi thriller Automata is a disappointing example of a film which lacks the imagination to follow persuasively through on its engaging initial premise.
  8. With its many story strands and flat direction, the movie lacks a pulse, its ambitious hodgepodge of concepts refusing to jell.
  9. A "non sequel" to Alex Cox's 1984 classic "Repo Man," the crazily plotted and deliberately garish Repo Chick only serves to provide further evidence of the cult director's diminishing talents.
  10. However universal the perennial questions and struggles that The Shack illuminates, under Stuart Hazeldine’s plodding direction, its faith-based brand of self-help feels like being trapped in someone else’s spiritual retreat — in real time.
  11. The lameness of the gags and dialogue and the film's frequent deep dives for the bottom at the expense of real comedy speak to desperation in Hollywood to figure out the audience for contemporary naughty comedy.
  12. It's all largely incoherent, with the screenplay's twists and surprise revelations having an utterly artificial feel.
  13. The film rings false at almost every turn despite its naturalistic performances. Lacking emotional substance, it comes off as far too studied in its subdued intensity.
  14. The action that follows is as broad and unconvincing as the characters involved: director George Ratliff manages to turn even dignified Ciaran Hinds into a ham.
  15. A Strange Brand of Happy is being billed as a “faith-friendly romantic comedy,” but its overall ineptness has the inadvertent impact of making you lose faith in romantic comedies altogether.
  16. Jewtopia feels like a failed sitcom pilot that might have been created by Jackie Mason.
  17. Derivative and otherwise lacking in originality, the film which features enough gratuitous nudity and violence to satisfy the genre crowd is a strictly by-the-numbers affair that probably won't be filling the multiplexes in Salt Lake City.
  18. 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.
  19. What's most remarkable about this big, dumb exploitation movie is how carefully anything approaching psychological texture appears to have been peeled away.
  20. Sometimes, deadpan observation of the mundane isn't Jarmuschian. Sometimes it's just dull.
  21. Poorly structured and at times incoherent.
  22. 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.
  23. A film that seems drained of life and ideas rather than sustained by them.
  24. Fouad Mikati's tawdry psychological thriller features the talented actress in a film that bears no small resemblance in theme, if not quality, to the hit movie version of Gillian Flynn's best-seller.
  25. M. Night Shyamalan’s latest is well cast and strong on setting. But the dull thudding that resounds isn’t part of its effective aural design; it’s the ungainly landing of nearly every shock and joke.
  26. 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.
  27. 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.
  28. The movie struggles to generate the slightest tension around the question of who’s playing whom, but the real question is, Why bother?
  29. In terms of inspiration or even the slightest shred of ingenuity, Banks ranks more like an 000 than an 007.
  30. 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.

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