The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,191 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% 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: 60
Highest review score: 100 Up
Lowest review score: 0 The Impaler
Score distribution:
7191 movie reviews
  1. Pretty much any sign of creative life gets left out in the cold in Ice Age: Dawn of the Dinosaurs, the monotonous, strictly by-the-numbers third edition of the wildly lucrative digitally animated franchise.
  2. Highly engaging performances by Dev Patel in the lead role and Jeremy Irons as his curmudgeonly mentor gradually warm up the Cambridge story, but the Indian part feels perfunctory and unconvincing.
  3. It's a frantic piece of filmmaking that invests nothing in the characters and moves much too fast for its own good. But things do pick up a bit for the final third, when a story line finally arrives.
  4. Without a strong point of view, it becomes hard to care about either the people or the issues with which they are grappling.
  5. While leads Will Ferrell and Zach Galifianakis are amusingly on point as a pair of mud-slinging contenders for Congress, the platform is a wobbly political satire that flip-flops chaotically between clever and crass, never finding a sturdy comedic footing.
    • 46 Metascore
    • 50 Critic Score
    CJ7
    A hyperactive, wishful-thinking special effects fantasy suitable for family outings.
  6. It’s no surprise to learn this was developed from a short film; it has a short’s fragmented, tone-poem quality, but not the sustained coherence of a feature.
  7. All the conviction the actors can muster can't make this script feel less pat.
  8. What might have looked intriguing on paper appears to have been largely pared away in the artsy mannerisms and loaded silences of Brit director Daniel Barber’s self-consciously elliptical treatment.
  9. Ericson Core’s Point Break strips the silly fun and relatively straight-ahead narrative from the original for a humorless, if photogenic spin on extreme crime.
  10. The second half groans under too many dumb contrivances, even if the dumbest — a sword fight at a publicity event — leads to a credit-sequence gag that earns more laughs than anything in the film.
  11. It might have been inspired by actual events, but End of the Spear is, literally and figuratively, simply too dull to make any impact.
  12. A very important subject gets too dry a treatment to keep one's attention focused.
  13. Unfortunately, as rendered here by the average-looking CGI effects, the characters are underwhelming in their appeal, lacking the charm of their previous animated incarnations.
  14. Among the girls, Emma Roberts has solid scenes with Rockwell.
  15. In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature-length film.
  16. An awkward mix of proficient 3-D animation, detailed technical recreation and strained storytelling that stalls on takeoff.
  17. Based on a true story -- that never happened. That might explain why the film circles and circles its subject but never strikes dramatic pay dirt.
  18. Viewers will likely be as confused as the protagonist as to what is going on, and the vague, episodic proceedings ultimately prove repetitive.
  19. Its schematic structure oversimplifies the drama, despite an interesting, mostly debut cast. It seems better suited for the small screen.
  20. Stone’s direction is measured, methodical, and totally lacking in the fire and flamboyance that sometimes electrified and sometimes ruined his earlier films. The story moves along without any real sense of urgency or suspense.
  21. The castmembers portraying Splinter and the turtles achieve a persuasive level of realism that was never possible with the elaborate puppetry required for the original film series and adequately fulfill expectations for their characters.
  22. International audiences will be confronted by a rather predictable and highly implausible road movie that strains to achieve too many agendas.
  23. Amiable if predictable.
  24. While superbly acted, the dramedy plays out like a tepid "Big Chill" at best.
  25. The bittersweet conclusion does stir some feeling, but the impact comes a little too late to save the whole of the film.
  26. A missed opportunity on multiple levels, T2 is stylistically an overwrought rehash which relies heavily on over-caffeinated camerawork and flashy effects (cinematographer Anthony Dod Mantle's trademark gritty flair is overwhelmed by a flurry of Dutch angles and freeze-frames) to distract us from its essential paucity of raison d'etre.
  27. While the idea of a German romantic comedy may seem like an oxymoron, What a Man proves an amiable diversion that at least has the distinction of not starring Katherine Heigl or Kate Hudson.
  28. A Little Game is a sweetly well-intentioned effort that displays a personal stamp even while occasionally descending into mawkishness.
  29. A schmaltzy, mildly satisfying Anglo take on the BFFs-to-bedfellows subgenre that’s been seen recently in romantic comedies.

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