The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,724 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 Brooklyn
Lowest review score: 0 Dirty Love
Score distribution:
5,724 movie reviews
  1. The Judge is well served by intense performances from stars Robert Downey Jr. and Robert Duvall, but is undercut by obvious note-hitting in the writing and a deliberate pace that drags things out about twenty minutes past their due date.
  2. The film, both in scope and tone, has a downsized vibe that would have made it a much better fit on an ABC Family than in a movie theater.
  3. The widely heralded musical auteur deserves a more insightful documentary treatment than the one afforded in Strange Powers: Stephin Merritt and the Magnetic Fields.
  4. An unstable mix of a tearjerker, junkie-recovery story and odd-couple pairing. The film marks the American debut of Danish filmmaker Susanne Bier, whose European films show a strong affinity for stories of human frailties and of families unraveling.
  5. Boasts an undeniable technical proficiency and historical authenticity, but this docudrama detailing assassin Mark David Chapman's obsession, stalking and eventual murder of the beloved Beatle nonetheless has an unavoidably exploitative feel.
  6. The movie never overcomes the triteness of its premise.
  7. Call this one "Brother Act." Instead of Whoopi Goldberg's Reno lounge singer in "Sister Act," Preaching to the Choir has a hip-hop star hiding out from a gangsta record producer in his estranged brother-minister's Harlem church.
  8. A repellent movie filled with gratuitous violence, Election is bound to find an appreciative audience among those who like their cinematic criminals noisy, stupid and deadly.
  9. Director Darren Lynn Bousman, who also helmed the past two installments, doesn't deviate from the stylistic formula, which includes grinding industrial music, frenzied editing and a blue-gray color palette.
  10. This ultra-slick, fantasy-inducing visit to an international wonder world of wealth and deception plays more like an inventory of thieving and gambling techniques than a captivating diversion, even if it's hard not to be voyeuristically pulled in by some of its ruses.
  11. A Spanish-language black comedy with a frenetic style that plays out like regurgitated Tarantino and Guy Ritchie.
  12. The real defeat in this ambling fairy tale of hardship, abandonment and resilience is that two potentially winning central characters -- and the tender young actors who play them -- are let down by a programmed screenplay that’s short on narrative muscle.
  13. This computer animated work has strikingly designed characters, and some good isolated sequences, but the script’s un bordel (French for shambolic mess).
  14. A wobbly comedy-drama.
  15. Never less than watchable and loaded with trademark negativity so extreme it's sometimes funny, the new film is nonetheless saddled with a protagonist so narrowly and unlikably presented that, in the end, he doesn't seem worth the time devoted to him.
  16. Although all the main characters and plot points survive the transition intact, they don’t carry the same weight. Him and Her have an undeniable literary, collegiate feeling, like reading a long novel and getting to know the characters inside out. Them steps on the accelerator in a sort of Cliffs Notes version.
  17. After a while, the crudeness and venality of the central characters proves as stifling as the incessant Queens summer heat does to our dubious protagonists.
  18. The film feels miscast. Neither Zeta-Jones nor Eckhart look the least bit comfortable in a restaurant kitchen. More troubling, they look downright uncomfortable with each other.
  19. The cast is fine, but the roles are superficial and too concentrated on the film's theme.
  20. A movie that tends to stick to formula, offering up minimal scares amid scattered moments of gross-out bliss.
  21. This ultra-violent revenge thriller is far more notable for its baroque excesses than coherence or credibility.
  22. Without them (Geoffrey Rush and Judy Davis), the melodramatic chronicle of real-life swimmer Tony Fingleton's formative years would have very little going for it.
  23. The problem is, despite the fact that the cast is filled with a gallery of veteran comic performers, few of the characters they portray are very interesting.
  24. Although screenwriter John Kare Raake’s Raiders of the Lost Ark template may sometimes seem a bit shopworn, at least it doesn’t dwell too indulgently on Viking mythology, playing to the strengths of the action scenario instead.
  25. An entertaining mess. It blends together musical styles and dances, historical periods with howling anachronisms, coy, almost childish gimmicks with R-rated sex and violence.
  26. Sunshine is stretched thin for the big screen. The decidedly art-house film is better suited for television.
  27. The film mostly grasps for unearned emotions.
  28. Managing nary a single original idea throughout its 93-minute running time, the film does benefit from a cast of sexy young TV stars who should attract the desired female teen demographic.
  29. This wannabe daring comedy about a man who attempts to "fix" the Special Olympics strains for that patented naughty and nice balance with squirmingly squishy results.
  30. Despite an intriguing setup, sharply drawn central characters and a lead performance from the luminous Jennifer Lawrence that elevates the material a few notches, House at the End of the Street is a by-the-book horror thriller that's low on scares and suspense.

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