The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,592 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Amour
Lowest review score: 0 Exists
Score distribution:
7592 movie reviews
  1. The plot, of course, is merely an excuse for an endless series of gags, and the percentage of them that score is fairly high. But since the jokes are based over and over on the fact that Lloyd and Harry are really, really dumb, a certain repetitive factor sets in.
  2. Though convincing in its argument that pimps and clients are treated much better than they should be in our legal system as compared to prostitutes, the film presents a picture of America's sex-trade landscape that will feel incomplete to many viewers.
  3. The film constantly toys with the expectations of both its characters and the audience, transforming a classic three-way tale of mistaken identities into something much more mysterious and troubling.
  4. Resembling a short story more than a narrative feature, the film tells its slender story in leisurely fashion, relying more on mood and atmosphere than dialogue or character development.
  5. This offbeat indie chiller benefits from colorful cinematography and bits of satisfying butchery, even if a less than airtight scenario fails to make it run efficiently.
  6. Speaking his (Rourke) lines in an unintelligible accent that occasionally requires subtitles and wearing a white suit that never seems to get bloody even when he’s stabbing people to death, the actor brings an undeniably fascinating strangeness to the otherwise familiar proceedings.
  7. Very much a work of its time, the documentary offers unique perspectives for fans of both the saxophonist and the pioneering filmmaker, but is unlikely to attract a broad audience beyond those camps.
  8. Guardians of the Galaxy Vol. 2 plays like a second ride on a roller-coaster that was a real kick the first time around but feels very been-there/done-that now.
  9. While the intriguing setup pulls you in, this gentle American heartland story peters out into an unsatisfying payoff.
    • 67 Metascore
    • 60 Critic Score
    The film's good points, though, are marred by a slow start and a nerve-jangling soundtrack.
  10. The saving grace to the utter predictability in Christina Mengert and Joseph Muszynski's screenplay is reasonably personable characters and spirited acting by director Bruce Beresford's cast.
  11. A bit too rambling and diffuse to be fully educational, We Weren't Just Bicycle Thieves nonetheless serves as a valuable introduction to its subject.
  12. Patrick McGrady's documentary strains to reconcile its conflicting moods, but Fry's gushing enthusiasm for the subject is ultimately if sometimes queasily infectious.
  13. It's chiefly notable for Cara Seymour's nuanced supporting turn as Anna's sometime best friend, Kate.
  14. Boasts appealing leads and dazzling court play, but the film never rises above its by-the-numbers plot to generate emotional heat.
  15. Whatever the filmmakers' subtextual intentions may be, the film certainly gets stronger and more compelling as it goes on, thanks in part to intense emoting on the part of its cast, with Harris, Keeley and especially Soller standing out particularly.
  16. [Marquardt's] film sustains tension and is arrestingly lit and shot, exhibiting a sharp eye for expressive compositions and a persuasive feel for the sheer alienating physical density of New York City life.
  17. A minor addition to the Korean action cinema canon, The Merciless offers thin pleasures in a glossy package.
  18. This plot-heavy suspense flick loses some of the book’s originality in translation while failing to channel its sense of Midwestern malaise. But it keeps the guessing game going long enough to compensate for some otherwise shallow characterizations, while Theron offers up an earnest and downbeat turn that says a lot with little dialogue
  19. Tale of the Cultural Revolution is strictly for scholars and students.
  20. Even as a quasi-experimental work of subjective surrealism, Escape From Tomorrow is massively erratic and isn't particularly original. But it must also be said that its take on Disney World, as well as many of its individual images, are indelible and won’t be easily forgotten.
  21. Unlike "The Matrix," all fights and stunts -- including a 14-minute freeway chase -- have a disturbing tendency to repeat intricately choreographed action. Thus, computer technology and overkill supplant the ingenuity of the original film's action.
  22. To use what, under the circumstances, is a far too convenient metaphor, Bay is interested in accelerating from zero to 100 as quickly as possible and then maintaining speed, rather than skillfully shifting gears and adjusting speeds based on curves, hills and road conditions. In this case, he gets you there, but you know the ride could have been a lot more varied and nuanced.
  23. Worth a look, though it's unfortunately a far too academic affair that never surges with the suspense of many a WWII drama.
  24. In the absence of sympathetic characters, a little humor would have gone a long way here.
  25. Derivative bits aside, the pint-sized Japanese icon takes flight in vibrant CG animation -- no 3D glasses required.
  26. A likeable if familiar underdog tale.
  27. Meditative, glossy doc provides some glimpses behind the curtain but isn't terribly enlightening.
  28. Crazy Wisdom offers a perceptive, if one-sided, perspective on Trungpa's impact on American spirituality and the arts.
  29. A feel-good picture that is a little less affecting than it might have been, but is entertaining enough.

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