The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,843 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 Land of the Dead
Lowest review score: 0 The Trouble with Terkel
Score distribution:
7843 movie reviews
  1. What starts out seeming like a poor man's Woody Allen morphs into something closer to an American version of "Scenes From a Marriage."
  2. An earnest tale about a faded rock star who discovers he has a teenaged daughter and takes her on the road, Janie Jones follows a predictable path and despite decent performances it does not catch fire.
  3. Sincere performances and well-intentioned scripting should help it with vets eager to see their stories told on-screen, but the film's dreary, secondhand feel is hard to overcome.
  4. With Melissa McCarthy playing a one-woman demolition team who, for 95 percent of the running time, is a genuine affront to nature, there are unavoidably some laughs here, although the gifted comic actor got more of them in less screen time in her previous films than she does in this starring role.
  5. The picture has enough entertainment value to tickle its target audience and even offers a few chuckles for accompanying adults. A strong cast and bright -- if uninspired — animation help to offset a thin story.
  6. 9
    9 never adds up to much. It's a dark adult film that gives itself over to the chases and frights of a kiddie movie.
  7. As with many films of its ilk, Surviving Progress takes on more than it can comfortably handle, veering haphazardly from subject to subject.
  8. There's plenty of time for the viewer to muse on what The Wall might or might not symbolize -- when events finally take an abruptly surprising and violent turn, the tonal shift is unsatisfyingly awkward.
  9. The film earns a few laughs thanks to the energetic efforts of its hardworking cast, but they’re decidedly of the hit-or-miss variety.
  10. Despite the filmmaker's obvious good intentions in trying to impart valuable life lessons to younger viewers, We the Party suffers from any number of problems, including uneven acting (talent isn't always hereditary); stereotypical characters and situations; and a manic visual style featuring the sort of split-screen obsession that felt outdated decades ago.
  11. This adaptation of South African writer Olive Schreiner's cult novel is too cute by far, sapping emotional resonance from a story that was in its original incarnation apparently far darker.
  12. There is little complexity in the social, cultural or political shape of this world. So this film, directed by visual effects master Stefen Fangmeier and written by Peter Buchman in a straightforward manner, cannot escape the rote nature of such a fantasy.
    • 53 Metascore
    • 50 Critic Score
    This moderately engaging, offbeat film requires a patience that audiences haven't demonstrated recently for stories concerning the fate of soldiers at home or abroad.
  13. Goldberger mistakes deadness for deadpan and mere oddness for that touch of genius that allows a first-rate filmmaker to get laughs out of the contrast between gruesome acts and mundane social concerns.
  14. Although chances are good that something called This Is Your Death is not going to be admirably restrained in the subtlety department, there was at least the hope that this grotesque thriller wouldn’t have kept pivoting uneasily between audacious social satire and mawkish moralizing.
  15. Instead of exploding into crime-clan war, the picture trickles into a kind of shrugging, "it is what it is" look at life on the wrong side of the law.
  16. The ending underscores the old cliche about the banality of evil but getting there is meant to be the whole fun. For some people at least.
  17. A backwoods psychological thriller delivered faux-documentary-style, with mixed results.
  18. The movie seems more like a '50s science fiction film of extreme paranoia or an episode of "The Twilight Zone" that even at a swiftly paced 90 minutes feels padded.
  19. A tasteful melodrama courtesy of the easy chemistry between its two leads and a generally restrained touch from Tony-winning director George C. Wolfe in his feature debut.
  20. Outfoxed would have benefited from a greater exploration of exactly why Fox News has become so popular and so trusted by its viewers.
  21. Some viewers might find that very cognitive dissonance interesting in itself, but many others may struggle to connect with a story that's essentially about an assortment of extremely entitled, self-absorbed people who ultimately have little new to say about addiction, families or the process of recovery.
  22. A superficially diverting but substance-free concoction, a would-be thriller as evanescent as a magic trick and one that develops no suspense or rooting interest because the characters possess all the substance of invisible ink.
  23. For hard-core David Mamet fans only...Edmond serves to remind you how artificial the dialogue and dramaturgy truly was in early Mamet.
  24. Dazzlingly designed and staged in a theatrical setting so as to suggest that the characters are enacting assigned roles in life, this tight and pacy telling of a 900 page-plus novel touches a number of its important bases but lacks emotional depth, moral resonance and the simple ability to allow its rich characters to experience and drink deeply of life.
  25. American Hero, which intermittently uses a faux-documentary style to awkward effect, never quite decides what it wants to be.
  26. Stacey Menear's screenplay doesn't manage to sustain its clever premise, with the final act featuring a banal and formulaic revelation that unfortunately takes what had been a spooky haunted house tale into familiar slasher movie territory.
  27. How much of this you'll find enlightening and how much simply creepy will depend on your tolerance for cinematic navel-gazing.
  28. An elegantly confected cream puff of a melodrama, The Age of Adaline plays like an exercise in handling a preposterous story, booby-trapped for maximal ridiculousness, with tasteful conviction. Far from the bloated tearjerker suggested by the trailer, the film is pleasant, respectable and a bit dull, reining in the inherent silliness of its material and taking few risks.
  29. The characters are so over-the-top with emotional pain -- that they are hardly credible as characters.

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