The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,536 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 Rent
Lowest review score: 0 Exists
Score distribution:
7536 movie reviews
  1. An explosive family drama whose intense performances can't always compensate for such a heavy-handed scenario, Bad Hurt nonetheless marks a promising directorial debut from playwright Mark Kemble.
  2. Danger Close provides a vivid portrait of combat and its emotional and physical aftermath. But despite its harrowing footage and moving elements, the film may feel all too familiar to viewers who have become numb in the face of seemingly countless other similar efforts.
  3. Director Takashi Shimizu chooses cruel psychological suspense over gore and succeeds in spinning a minimal plot into a panorama of malice.
  4. Though it doesn't quite hit the target, Plotnick's vision of the future of the past is peculiar enough to resist quick dismissal.
  5. The film feels empty and intellectualized at the core, where it should feel powerfully emotional.
  6. Cogent documentary makes the persuasive argument for the role that U.S. military and corporate interests have played in the influx of immigration from Latin American countries.
  7. Attaining somewhat of a bad parody of a comedy, screenwriters Andrew Fleming and Pam Brady have slapped together a string of gags in a hit-and-miss dither. Some of it is quite brainy.
  8. Thomas’ direction, especially of the villainous roles, gives a lot of the action a self-conscious, not-quite-real quality. Some aspects of the movie’s intentional artifice work better than others.
  9. Fortunately, the terrific lead performances by Jonathan Pryce and newcomer Jerome Holder are enough to help Dough rise above its formulaic ingredients.
  10. Meredith has woven together a half-dozen portraits of contemporary lives-on-the-edge in this quietly searing drama.
  11. Taylor does capture the Jim Crow era and its anxieties well, but his characters tend toward the facile and his white heroine is too idealized.
  12. Its undiscriminating focus, accepting artists whose degree of talent varies widely, may not help it with audiences seeking a fine-art doc, but many viewers will appreciate that very quality, enjoying this modest effort's celebration of a bootstrappy creative community.
  13. A Life in Dirty Movies is still a sweet and illuminating journey into cult cinema history, but it would have been more honest and psychologically rich if it had shown us the money shot.
  14. That it all works to the extent that it does is due to its undeniably sweet depiction of a close-knit extended family whose members truly care for and help each other. It's cinematic wish fulfillment in this era of broken families and far-off relatives who keep in touch via social media.
  15. Traded features nary an original element but nonetheless registers as a solid if minor oater.
  16. A stylishly made but unyielding drama.
  17. Although it’s clear that her dauntingly complex personality contributes to her abilities as a superior storyteller, Feuerzeig and Albert now ask us to believe a proven unreliable narrator’s account of her own life, which largely lacks corroboration.
  18. Escalante struggles to illuminate how sex and violence are connected and what this, in turn, means for more specialized types of aggressiveness and oppression, such as misogyny and homophobia.
  19. A more accomplished film than "Yards." Yet it will fail to satisfy police movie buffs, as procedures are de-emphasized, and the drama is too perfunctory and obvious.
  20. Despite a warmly interacting cast that includes Jennifer Ehle as Emily’s sister and Keith Carradine as her lion-maned, lionized father, and a valiant effort on the part of Nixon and Davies to externalize the poet’s inner demons in emotional, high-tension scenes, the film can’t escape an underlying static quality that extinguishes the flame before it can get burning.
  21. The documentary will nonetheless strike an emotional chord with anyone who's grown up eating the product it celebrates. And over the course of 100 years, that's a lot of matzos.
    • 56 Metascore
    • 60 Critic Score
    It's the kind of rollicking rebel-chick flick that should score well in venues that appreciate Quentin Tarantino films.
  22. Expertly acted, impeccably photographed, intelligently written, even intermittently touching, the film is also too parched and ponderous to connect with a large audience.
  23. The story is rich in juicy anecdotes and epochal events, even if the man behind these striking images remains a little too elusive throughout.
  24. Despite the wildly uneven plotting, Gordon’s atmospheric direction in coastal New London propels the drama, as does her sensitivity to what remains unspoken between people. That everyone in the film is drastically off-balance may just be the point.
  25. It’s hard to detect a strong raison d’etre behind Sofia Coppola’s slow-to-develop melodrama.
  26. Character eccentricities and off-kilter group dynamics play out with a comic vengeance.
    • 43 Metascore
    • 60 Critic Score
    Shot on location in vibrant Cartagena, the film's strong suit is aesthetic. Cinematographer Alfonso Beato, designer Wolf Kroeger and costume designer Marit Allen evoke aged exotic locales, rugged rural settings and dimly lit period interiors. A closing, aerial image has a breathtaking, spiritual beauty.
  27. Diverting but not enough to expand Kevin Hart's fan base much.
  28. Klinger is clearly aiming at a hardcore of filmmakers and cinema students, but even that niche audience will only glean incomplete insights into the methods and motivations of his subjects.

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