The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,998 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Shame
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
7998 movie reviews
  1. It's never fun watching a comedian's shrewdness ossify into shtick. Yet whatever incisiveness Ricky Gervais once had (and he had plenty, if The Office and Extras are any indication) is barely evident in the new Netflix-released satire Special Correspondents
  2. It may be Hot Sugar's Cold World, but that doesn't mean we have to live in it.
  3. Where Attenborough's script lent an air of dignity to the shorter film, Allen's reading of Philip LaZebnik's cutesy narration has a canned feel, and is unlikely to connect with viewers too young to appreciate cliched humor about the joys of bachelorhood versus the duties of parenting.
  4. Many Christians yearning for faith-based entertainment will be moved by this film, and that crowd may well ensure a profit for the production. But more picky viewers will admit that even taken solely as an exploration of the trials of being a Christian teen, it's awfully weak tea as a movie, instantly disposable if not for the tragic backdrop.
  5. Lack of originality and self-awareness prove to be a fatal combination. There is something way too familiar about Hoffman's rites-of-passage portrait of wasted youth, with its inevitable soundtrack of fashionable angst-rock and predictably retro-cool cult-movie influences.
  6. In terms of real horror, nevermind sexual-politics provocation, "Grave" can neither re-create its predecessor's impact nor compete with stranger new beasts like Lars von Trier's "Antichrist."
  7. This is a shallow snapshot of First World problems and feeble conflicts that makes you despair for the state of gay-themed drama, perhaps even more so because it's capably acted and assembled with a slick sheen.
  8. No legitimate distributor would bother with a film "whose crackpot elements aren't even exploited in a way that will appeal to those watching solely to make fun of them."
  9. Director/co-screenwriter Pearry Teo succeeds in investing the silly proceedings with spooky visual stylishness, providing enough scary demons and possessed mannequins to deliver the requisite jump scares. Unfortunately, the film also features sound, which results in the audience being able to hear the inane dialogue accompanying the familiar horror tropes.
  10. Depicting the very long, violence-filled night that ensues after a group of young people trespass in a creepy, abandoned prison, Against the Night proves as generic as its title.
  11. There's little sense of personal investment from the director, but Egoyan does what he can to keep the story moving forward, without getting bogged down in its implausibilities, which are too many to count.
  12. 13
    As leaden as the bullets whose random behavior it revolves around, Géla Babluani's 13 fails to recapture the sweaty tension of his original 13 Tzameti, a French import that reeked of style and first-timer ambition.
  13. The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.
  14. Whatever you have to pay, it's too much.
  15. Making her feature directorial debut at the tender age of 70, veteran actress Connie Stevens delivers an obviously heartfelt but sadly unfocused melodrama in the form of Saving Grace B. Jones.
  16. Onscreen, it somehow manages to be at once wildly overblown and terminally boring.
  17. Concerned with both physical and psychological hazards of the job, Life on the Line manufactures a pileup of looming disasters to which director David Hackl lends no cadence.
  18. The film becomes a hodgepodge that will enlighten few viewers.
  19. Despite its effort to double as a sincerely impassioned message about female empowerment, My Way mainly comes across as a relentlessly self-serving promotional vehicle.
  20. Pan
    What fun there is falls to Jackman, who gives the grand old man of pirate characters plenty of fresh and unusual wrinkles and emerges better than the others simply by virtue of playing a two-dimensional, rather than one-dimensional, figure.
  21. Not so much blasphemous as just outrageous for the hell of it.
  22. Toilet humor, jokes about paraplegics and serious overacting make this lowbrow comedy an irritating watch.
  23. Assassin’s Creed is resolutely stone-faced, ditching the humdrum quips that are par for the course in today's blockbusters. But this is almost two hours of convoluted hokum that might have benefited from a few self-deflating jabs.
  24. The English term "shambolic" best describes a slow-paced, bloated and self-indulgent picture that combines science fiction, sophomoric humor and grisly violence soaked in a music-video sensibility.
  25. This remake turns a fondly remembered horror/thriller into a mild and tedious suspense film.
  26. A seemingly well-intentioned but deeply flawed film about dementia that becomes as erratic and misguided as its protagonist, Sharon Greytak's Archaeology of a Woman does no favors to those afflicted with cognitive disease or those hoping to understand them.
  27. Given the tragic and highly charged events it depicts, All Eyez on Me is oddly low on emotional bite, perhaps because it never feels real. As clean and polished and blandly overlit as a TV soap opera, Boom’s film looks and feels smaller than Tupac’s cinematic life story.
  28. As it thuds along from one wolf attack to the next, Catherine Hardwicke's first film since taking leave of Bella and her toothy friends adamantly refuses to provide any wit, humor or fun.
  29. A very loose and extremely limp adaptation of Don DeLillo's 2001 novella The Body Artist, it palpably aspires to be a classily highbrow kind of romantic ghost story with psychological thriller undertones, but falls laughably short of its goals.
  30. Originality or insight aren’t very high on the priority list of this drama.

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