The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,516 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% 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 Hugo
Lowest review score: 0 Material Girls
Score distribution:
5,516 movie reviews
  1. Blindness is provocative cinema. But it also is predictable cinema: It startles but does not surprise.
    • 57 Metascore
    • 50 Critic Score
    It's also solidly constructed throughout and the acting is impeccable. The problem is that it just lumbers along for two solid hours, never rising to any significant emotional or philosophical heights.
    • 69 Metascore
    • 50 Critic Score
    Martial-arts lovers may find it too arty, and art-film lovers, Wong's international fan base, may find it too generic and too violent.
  2. A feel-good tale with undeniably good intentions, this Canadian comedy-drama doesn't really manage to convince on any level.
  3. Stalls at the intersection of fantasy and science fiction.
  4. Alternately compelling and dramatically limp, the film scores points for exploring unfamiliar territory but lacks the emotional depth to make some very strange behavior believable.
  5. This would-be cult film is unlikely to inspire "Rocky Horror"-style devotion.
  6. This mildly engaging comedy drama has enough quirky charms to compensate for its rough spots.
  7. How About You is not without its moments of insight, but its emotional arc is a straight line from A to B, a path made all the more obvious by the heart-tugging score.
  8. Trite, grim and feebly provocative.
  9. Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.
  10. Despite the best efforts of stars Keanu Reeves and Jennifer Connelly, this new "Day" is tired and corny.
    • 80 Metascore
    • 50 Critic Score
    Michelle Williams does her best but she cannot prevent Kelly Reichardt's Wendy and Lucy, a weak tale about being broke and on the road in rural America, from dwindling into boredom.
  11. In "Virginia Woolf," George and Martha are locked into a symbiotic, disturbingly needy relationship that absolutely feed off their acidic battles. But for Revolutionary Road's Frank and April Wheeler, you wonder: Why don't they just get a divorce?
  12. The actors do what they can with the cards they're dealt but can't overcome the nakedness of the dialogue or the characters' actions. Duke does ensure that the production flows smoothly though. And those frequent injections of comedy do wonders.
  13. It's a pretty lazy film in the creativity department save for the dogs.
  14. The film does not lack for ambition both in terms of its themes and artistic design. Consequently, his (Jenkins) feature debut, while not flashy, shows promise. Clearly, here is a young filmmaker who wants to tell stories rather than deliver shocks and sensation.
  15. A formulaic yet clever chiller that offers generous doses of sex and violence aboard a luxury yacht.
  16. The film is still cheesy rather than deliciously scary. It never really generates sustained suspense.
    • 50 Metascore
    • 50 Critic Score
    Might do good business at home and abroad among audiences unconcerned with the finer points of characterization or psychological insight.
  17. All of this results in way too much relationship chatter and not nearly enough comedy, romance or even dysfunctional relationships. We want to laugh -- but at what?
  18. It's business as usual at Camp Crystal Lake, with very little in the way of fresh jolts or an innovative visual style that would have really revitalized the hokey franchise.
  19. For all its staleness, the melodramatic main story does contain enough good acting and resonant scenes.
  20. There is nothing we haven't seen here before in terms of chases, intrigue and betrayals, so for all its A-list cast and production values, the film comes off as routine.
  21. A romantic comedy depends, of course, on the chemistry between the leads, and here the film is more successful. Both Heigl and Butler find the appeal in very flawed characters.
  22. A couple of rather Dickensian supporting roles by Robbie Coltrane and Maximilian Schell fall embarrassingly flat as they are more creations of costumes and makeup than actual flesh-and-blood. But then the same can be said for the entire movie.
  23. A perky though not terribly imaginative feature aimed primarily at youngsters.
  24. The film simply has too many tiredly predictable elements for its own good, and despite the handsome cinematography of the extremely picturesque California locations, "Sherman's" never really finds its way.
  25. Fukunaga clearly exhibits a flair for spirited storytelling, but when Sin Nombre departs from the specifics of its unique world in favor of more conventional genre execution, it leaves the characters and audience adrift.
  26. Although it's refreshing that Alien Trespass doesn't indulge in the sort of mindless, gross-out humor that afflicts so many current cinematic spoofs, it errs too much on the other side, offering mere pastiche instead of witty satire.

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