The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,184 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% 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: 60
Highest review score: 100 The Departed
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
7184 movie reviews
  1. The film represents the director in a more pensive, even philosophical vein, less interested in propulsive cinema and more reflective about what would seem to mean the most to him—dreams, and the ability to make them come true. This is what The BFG is about but, unfortunately, that is basically all it’s about and by a considerable measure too explicitly and single-mindedly so.
  2. Edward Norton serves as lead actor and producer, but even his star power won't help this misfire reach a wide domestic audience.
  3. Performances are strong across the board, and the movie offers a solid sense of place. But the mysteries, once explained, don't make a lot of sense.
  4. The film repeatedly sacrifices dramatic punch for political correctness.
  5. Alternately compelling and dramatically limp, the film scores points for exploring unfamiliar territory but lacks the emotional depth to make some very strange behavior believable.
  6. While the director-screenwriter clearly has a sensitive affinity for his characters, his film lacks narrative momentum and fresh observations.
  7. While Highway Courtesans has many relevant points to make about the subjugation of women in impoverished societies, it lacks the focus and narrative momentum to sustain its admittedly brief running time.
  8. Mademoiselle C should please fashion devotees while leaving everyone else scratching their heads.
  9. While Michael Keaton and Brendan Fraser turn in a pair of sturdy performances, the film itself proves to be a harder sell, especially because it looks and sounds like Mamet but proves to be a flimsy knockoff.
  10. Besson responded to something in the story that prompted him to step outside his comfort zone, but exactly what that was is unclear in this well-intentioned but pedestrian retelling of a stirring true story.
  11. Put three old friends in a convertible for a cross-country road trip to a loved one's funeral, and what do you get? Very few surprises, in this feel-good fluff that, despite offering nothing novel, could do well with older audiences who rightly feel that too few films are being made with them in mind.
  12. While it features some pungently observational moments, Below Dreams is ultimately too diffuse and disjointed to have the desired impact.
  13. A compelling and little-known story of the Civil War period is studiously reduced to a dry and cautious history lesson in Free State of Jones.
  14. It’s all rather trite if easygoing entertainment aimed at the 6-and-under set, with A Turtle’s Tale creator Ben Stassen (credited as producer) and director Vincent Kesteloot delivering a colorful 3D adventure that lacks the sophistication of a Zootopia or Kung Fu Panda, but thankfully avoids some of their snark as well.
  15. Representing a sort of equal opportunity religious variation on an all-too-familiar theme, The Possession is a Jewish-themed "Exorcist" that, if nothing else, should discourage the practice of buying antique wooden boxes at flea markets.
  16. Never manages to rise above its thin premise, with its claustrophobic setting smacking more of stage than screen.
  17. Attempting to be this generation's "Risky Business," The Babysitters is the sort of ribald morality tale that manages to feel sleazy and decorous at the same time.
  18. A downbeat story line layered with philosophical discourses will restrict the audience to fans of the animated genre.
  19. Like many action stars, Statham is good at cool brooding, but West's frantic style works against this.
  20. A tough sell theatrically despite its merits, the film will rely on Jones' name to reach viewers via home-video outlets.
  21. Unfortunately, the whole seldom adds up to the sum of its illustrious parts, and Jarmusch's trademark deadpan quirks seem to have gotten lost in the translation.
  22. Mild in both humor and impact, this well-cast comedy should provide welcome diversion during the holidays for audiences looking for a somewhat lighter experience than the crucifixion of Christ or the massacre at the Alamo.
  23. Wavers between would-be satire and romantic drama, inhabiting neither mode convincingly.
  24. Earns its R but may leave audiences wanting more.
  25. Emerges as a frustrating cop-out.
  26. Pegging most of its hopes on two actors who hardly maintain the taut chemistry its long two-hander section requires, the pic plays like the feature debut it is, an uncertain drama full of attitude it can't back up with action.
  27. Not even the estimable comic chops of Hugh Grant and Sarah Jessica Parker can lift it above the level of ordinary.
  28. While the film sometimes plays like an hour TV medical drama padded to reach feature length, Sawant achieves touching, naturalistic performances from a fine ensemble cast.
  29. In the moment, the film's simplistic spirit is intoxicating. But take my word for it — the real-world hangover that follows is fierce.
  30. After a promising start, this quirky comedy falls flat despite Eckhart's best efforts.

Top Trailers