The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,551 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 The Past
Lowest review score: 0 The Trouble with Terkel
Score distribution:
7551 movie reviews
  1. The Boy From Geita is a harrowing depiction of ignorance and superstition run amuck.
  2. Their stories add up to an unflattering picture of how the U.S. chooses its soldiers.
  3. Rosenwald is not always successful in doing full justice to its rich subject matter, suffering from pacing problems and occasionally feeling drawn-out in its feature-length running time.... But it certainly deserves kudos for bringing long overdue attention to this unsung figure whose life was one big mitzvah.
  4. It’s a smart film with engaging moments. But working overtime to build an involving multi-layered drama with a flurry of hand-held camera movements and dizzying flashbacks, it ultimately turns repetitive and annoying.
  5. Bangkok won't be making any appearances at the Oscars, but it is executed with skill and -- a severed limb or two notwithstanding -- without too much bloody excess.
  6. While it has its moments of pure Farrelly inspiration and swell performances from Matt Damon and Greg Kinnear...the patented blend of the outrageous and the sweet that has become the brothers' trademark struggles to find the desired balance here.
  7. Features enough genuine laughs to give it decent commercial traction.
  8. Like the professional dogwalker who can’t exactly keep count of Max and his cohorts, it feels like the filmmakers are juggling too many chatty creatures at once, while trying to maintain a plot that tends to grow more outlandish as the story progresses.
  9. Elliptical storytelling is both a strength and a weakness in a visually striking mystery thriller.
  10. The picture's quiet performances and occasionally surprising moments take it just far enough off the beaten path to make it more than a transparently formulaic feel-good story.
  11. Though it takes some time to sort out the large cast, the leads, all fine actors, eventually come into focus. As the good and bad samurai, Yakusho and Ichimura have the gravitas to take their roles seriously and perform a decisive one-on-one sword fight straight.
  12. While the duo's crimes were indeed sensational, writer-director Todd Robinson's starry take on the material fails to provide much in the way of a new perspective.
  13. The Nightingale is technically remarkable. Beyond its socio-political context, however, the film offers hardly anything inventive to the familiar generation-gap rite-of-passage dramedy.
  14. As the stakes are heightened, the filmmakers too often short-change dramatic verisimilitude with movie-ish cliché, implausible plotting and cumbersome dialogue.
  15. The curious thing here is that Alexander Payne and Jim Taylor rewrote this long-in-development screenplay. Yet the authors of such smart comedies as "Sideways," "About Schmidt" and "Citizen Ruth" can't move the film away from the world of easy laughs and sitcom jokes into a realm where sexual prejudices and presumptions get examined in a whimsical yet insightful manner.
  16. More a middle-of-the-road rom-com than a teen-spirit sendup, the pic weaves its lighthearted mix of silly and serious with increasingly heavy-handed spiels on self-esteem.
  17. A slick, occasionally hilarious but ultimately uneven appraisal of France’s favorite extramarital pastime.
  18. All the action is staged with energy, but it gets relentless without anything really funny going on.
  19. The film was shot chronologically and this is clear in the increasing fluidity of Gras’ camerawork, which is less and less searching the closer they get to the city.
  20. The effectively deglamorized Cattrall is terrific, investing her portrayal with a complex mixture of vulnerability, toughness and still-powerful sexuality.
  21. Lacks the cinematic panache to elevate it above the level of agitprop. But its all too relevant dissection of its subject is well worth paying attention to.
  22. Gimmicks aside, this decently acted and paced effort shows that the 74-year-old auteur can still be marginally transgressive, if not entirely original.
  23. The fact that Norwegian Wood is based on Haruki Murakami's 1987 international best-seller should encourage many viewers to give this long, elegantly shot, sporadically involving Japanese film a try.
  24. The drive to keep alive the name of a young American woman who died beneath a U.S.-made bulldozer driven by an Israeli soldier in Palestine continues in Simone Bitton's sober documentary Rachel.
  25. This paean to youthful irresponsibility applies the right crude and rude 'tude to its bulging sack of gags to have the desired effect on its target audience.
    • 75 Metascore
    • 60 Critic Score
    The only thing might have added variety and richness to the film would be the inclusion of more dialogues or interactions with more than one person.
    • 47 Metascore
    • 60 Critic Score
    Slasher-movie fans, however, need not be put off by the stylized camera work and arty patina: this is down and dirty genre filmmaking, and the various slaughters, excruciatingly detailed scalpings and other atrocities are no less gruesome because of the highfalutin approach.
  26. While there's an awful lot to like about this infectious celebration of a remarkable event featuring some superb, larger-than-life performers at the top of their game, the enterprise comes across as a bit of a missed opportunity.
  27. There’s something admirably honest about the meta-method Amalric and co-writer Philippe Di Folco have chosen.
  28. "Phoenix" might go down as the problematic film, full of plot but little fun.

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