The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,393 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Wrinkles
Lowest review score: 0 Movie 43
Score distribution:
5,393 movie reviews
  1. Has its entertaining moments and boasts pungent performances from such supporting players as Ron Perlman and John C. McGinley, but never quite succeeds in managing its uncomfortable tonal shift from dark comedy to true-crime thriller.
  2. The film only intermittently displays the snap, precision and stylistic smarts a mixed-tone project like this requires; a half-good effort is not enough where buoyancy and a sly-to-mean spiritedness are required at all times.
  3. The drama and intensity that are [Haggis's] signatures are mostly missing from these vividly dramatized but uninvolving romantic crises, none of which are particularly believable.
  4. With its splashy paintbox palette and jaunty pop soundtrack, All Cheerleaders Die just about hangs together as a cheerfully goofy romp.
  5. Despite Meat Loaf’s hammily entertaining turn as the desperate owner of a musical theater summer camp, the film fails to live up to its obvious inspirations.
  6. Without creating fully fleshed characters or truly involving conflict, the film aims instead to provoke howls of recognition and tears of gratitude by appealing to very basic notions of parent-child love.
  7. More notable for its small, incisive moments than as a moving depiction of the way that familial relationships are affected by life crises, the film makes only a minor impact.
  8. Although the humor helps, the Groundhog Day-like repetition gets tedious; it makes you feel more like a hamster than a groundhog — or rather a hamster's wheel, going round and round, over and over again.
    • 49 Metascore
    • 50 Critic Score
    A fair-to-middling little date movie.
  9. The actors' raw honesty and the unvarnished authenticity of the Southeast Texas environment lend weight to this slow-burn drama about responsibility, even if its storytelling is unrelentingly downbeat and lacks muscularity.
  10. The screenplay... seems to generally lack a throughline or focus, coasting from party scenes full of drugs and alcohol to work-related drama but rarely managing to get inside the head of the self-destructive character the designer had become by the 1970s.
  11. For the first time his ongoing collaboration with scriptwriter Paul Laverty, Loach's studiously safe-hands approach -- typified by regular collaborator George Fenton's near-incessant score -- can't counterbalance fundamental screenplay flaws.
  12. The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time.
  13. While the director prides herself for having a mix of pro and amateur actors improvising scenes, many awkward moments emerge as the characters seemingly are just instructed to let their conversations and interactions flow: the result is missed beats, protracted silences and characters staring at each other or into space for too long.
  14. Stocking the supporting cast with top-drawer talent, he gives most of his costars little to do besides attract our attention on movie posters.
  15. Unfocussed editing and Mark Rivett's unimaginative score contribute to a lightweight feel that is best suited to TV viewing.
  16. While the screenplay by De Paolis and Sarah Nerboso falters in its melodramatic plot elements, its incisive characterizations and well-drawn smaller moments provide some compensation.
  17. This disappointingly conventional effort pales in comparison to the filmmaker's wildly audacious comedies.
  18. The film offers some diverting background on the man.
  19. While one might agree or disagree with their theme, aesthetically Citizen Koch is feisty.
  20. Ahluwalia has striven for a very self-consciously arty aesthetic here, more Gus Van Sant than Michael Mann. This is a commendably bold way to approach material that might otherwise have drifted into routine lowlife crime-thriller territory, but it also drains a rich story of narrative momentum and emotional punch.
  21. Unfocused, overly long documentary raises provocative questions.
  22. While the supernatural side of the film suffers a flaw or two — continued references to The Doors are superfluous and sometimes chuckle-inducing — its central conflict works.
  23. Beautiful to look at, this is nothing more than a Little Engine That Could story refitted to accommodate aerial action and therefore unlikely to engage the active interest of anyone above the age of about 8, or 10 at the most.
    • 28 Metascore
    • 50 Critic Score
    There are some good ideas struggling to be heard, but they're drowned out by the contrivances, the gunfire and the screaming.
  24. Has some clever ideas up its sleeve, but otherwise fails to provoke much interest in the travails of its 40-something central character.
  25. The film earns a few laughs thanks to the energetic efforts of its hardworking cast, but they’re decidedly of the hit-or-miss variety.
  26. Whether they’re filing ridiculous complaints about each other to the unflappable mayor (Michel Blanc), arguing over the proper presentation of ingredients or sharing a cafe table, Mirren and Puri bring an effortless command to their roles.
  27. Good-looking but not very effective adaptation of the seedy classic by "Grifters" author Jim Thompson.
  28. 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.

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