The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,200 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Million Dollar Baby
Lowest review score: 0 The Impaler
Score distribution:
5,200 movie reviews
  1. A highly awkward blending of gay porn and political satire, this latest effort from cinematic provocateur Bruce LaBruce ("Hustler White," "Skin Flick") is the sort of film John Waters would make if he were more political, less funny and completely willing to shed all aspirations of mainstream respectability.
  2. Actual footage of Afghanistan makes it an interesting experiment, but as a dramatic thriller, the story of an American documaker is not as taut or compelling as it could be; instead, it's often confusing and irritating.
  3. After a while, the extremely limited camera movement and languid pacing take an exacting toll, resulting in a viewing experience that is considerably less than idyllic.
  4. The filmmakers are clearly most interested in re-creating the murders in a gruesome and repugnant fashion. It's a shame the film is so exploitative, because Howell and especially Turturro deliver chilling, all too convincing performances.
  5. Even those who have never been exposed to the considerable charms of the Masayuki Suo original will likely find Peter Chelsom's all-American version of Shall We Dance? to be a dishearteningly sullen, lead-footed misstep.
  6. Both the anticipation factor and writer-director Mick Garris' slick adaptation fail to live up to the old hype.
  7. What might have achieved a degree of cult status across the pond when it was aired in 10-minute installments, struggles to pass big-screen scrutiny.
  8. The naturalistic style of the film is completely at odds with the hokey melodrama.
  9. Although not exactly original in its aspirations or execution, the film's engaging performances and occasional funny moments lift it a notch above the pack of similarly themed fare.
  10. Effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors.
  11. A Christmas comedy where laughs and even Christmas joy are in short supply.
  12. The picture is essentially a tearjerker, with little originality or insight.
  13. Dolls soon becomes overloaded with symbolism, and consequently suffocates the audience.
  14. There are twist endings and there are twist endings -- and then there is the logic-strangling, complete cheat of a reveal that takes place in the final 10 minutes of Hide and Seek. It's so absolutely preposterous that it stops the film cold and draws a collective "Aw c'mon!"
  15. An unwieldy, excessively talky affair, unintentionally exhibiting all the clunky stops and starts and self-conscious ramblings of a particularly awkward first date.
  16. This tale of the theater could have used more time on the road.
  17. The director's split-screen effects and hand-held digital camerawork go from being innovative to repetitive to irritating in a Santa Cruz minute.
  18. Vin Diesel is out of his element in this lame family comedy.
  19. There is little suspense, however, and while all the attention on the small details of their lives is laudable, it isn't very interesting.
  20. Even as agile a performer as Sandra Bullock seems to be straining here amid the repetitive jokes and muddled girl-power message.
  21. Eye-popping yet ultimately thin and shallow as a page in a graphic novel.
  22. Any movie starring Penelope Cruz or William H. Macy can't be all bad. And Sahara, which stars both Penelope Cruz and William H. Macy, proves the point: It isn't all bad.
  23. Ultimately a less-than-satisfying cinematic meal.
  24. It's a highly stylized piece of work typical of director Todd Solondz, who renders wildly exaggerated sequences on a topic not generally thought of as a basis for comedy. He leaves it to the viewer to decide if it's insightful whimsy or meaningless drivel.
  25. Ultimately, Adam Moreno's screenplay, with its multiple narrators and constantly shifting points of view, makes for mighty confusing viewing.
  26. Crammed with charmless characters and/or hammy performances.
  27. While those in the know will undoubtedly find something to appreciate in the film's wide-ranging if amateurish stabs at satire, the vast majority will feel left out of a private joke.
  28. Too squeaky-clean to convey the turbulence of the period.
  29. A dry compendium of talking-head interviews.
  30. Dull film about pedophilia that fails to shed any light on the topic.

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