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. A wondrous flight of fancy, a stop-motion-animated treat brimming with imaginative characters, evocative sets, sly humor, inspired songs and a genuine whimsy that seldom finds its way into today's movies.
  2. A fully believable, flesh-and-blood (albeit not human flesh and blood) romance is the beating heart of "Avatar." Cameron has never made a movie just to show off visual pyrotechnics: Every bit of technology in "Avatar" serves the greater purpose of a deeply felt love story.
  3. Dawn of the Planet of the Apes manages to do at least three things exceptionally well that are hard enough to pull off individually: Maintain a simmering level of tension without let-up for two hours, seriously improve on a very good first entry in a franchise and produce a powerful humanistic statement using a significantly simian cast of characters.
  4. It is a work of great fantasy and charm that will delight children ages 3 to 100.
  5. For Chazelle to be able to pull this off the way he has is something close to remarkable. The director's feel for a classic but, for all intents and purposes, discarded genre format is instinctive and intense.
  6. Youth is a voluptuary’s feast, a full-body immersion in the sensory pleasures of the cinema.
  7. A gloriously inspirational film documenting music’s healing power in Alzheimer patients.
    • 90 Metascore
    • 100 Critic Score
    An extraordinary motion picture, greater in dimension and significance than any similar film of our time, Ben-Hur is more spectacular than any of the previous spectacles. More importantly, it is at the same time a highly rewarding dramatic experience, rich and complex in human values: a great adventure, full of excitement, visual beauty, thrills and unsurpassed cinema artistry.
  8. A ferociously entertaining thriller with sympathetic characters, stunning set pieces and pulsating excitement.
  9. Hysterically funny yet melancholy comedy.
  10. A career high point for Ralph Fiennes as both an actor and director, this unfussy and emotionally penetrating work also provides lead actress Felicity Jones with the prime role in which she abundantly fulfills the promise suggested in some of her earlier small films.
  11. Perhaps returning to Apocalypse Now will reinvigorate the once brilliant storyteller. Certainly, the images, colors and design still astonish. And let's hope that Apocalypse Now Redux will become the definitive version. For the movie hits home even harder now. [14 May 2001]
    • The Hollywood Reporter
  12. The violence of the inter-American drug trade has served as the backdrop for any number of films for more than three decades, but few have been as powerful and superbly made as Sicario.
    • 97 Metascore
    • 100 Critic Score
    The ingeniously structured screenplay by Katz, Huyck and Lucas offers up a load of wonderful characters who whirl about in ducktail haircuts and shirtwaist dresses, lost in the obscenity of American culture. Thanks to some of the most spirited, daffy dialogue since Lubitsch, their sweetness is deliriously funny. No matter how high the dramatic stakes become, the movie never loses its sense of humor, and although it has a lot to say, it's gloriously free of pretensions.
    • 71 Metascore
    • 100 Critic Score
    Lucas Belvaux's Rapt is two movies, both excellent, for the price of one.
  13. It’s like watching a first-rate standup routine transformed into fiction, or in this case auto-fiction, as Rock has more on his mind than just making us laugh, offering up a witty celebrity satire that doubles as a love story set during one long and eventful New York City day.
  14. A remarkably vibrant and frank look at one precocious teen’s emerging sexual life — a film with the stuff of life coursing through its veins and sex very much on its brain.
    • 83 Metascore
    • 100 Critic Score
    It is simply one of the most exciting and intelligent action films in years, probably the best good-cop film we can expect to encounter.
  15. Frame by Frame is a work of profound immediacy, in sync with the photographers’ commitment and hope.
  16. The film is a captivating, sobering look at the world’s endangered aquatic species, but it’s also a frightening revelation of what methane and carbon are doing to the ocean.
  17. A ferociously entertaining film.
  18. The best one yet.
  19. This is a wondrous and moving account of a remarkable life that puts us right there with Goodall to share directly in her discoveries.
  20. U2 3D takes the well-traveled concert film to exhilarating new heights.
  21. Featuring superb performances by the principal actors, Big Bad Wolves is mesmerizing from start to finish.
  22. Up
    Winsome, touching and arguably the funniest Pixar effort ever, the gorgeously rendered, high-flying adventure is a tidy 90-minute distillation of all the signature touches that came before it.
  23. This is one of the most wildly romantic movies in ages.
  24. It's the selective but cumulative use of seemingly arbitrary but significant experiences that gives Boyhood its distinctive character and impressive weight.
  25. The endearingly enduring 1952 E.B. White novel about friendship and salvation, has been turned into a beautifully rendered motion picture that's full of warmth, wit and wonder.
  26. Dunkirk is an impressionist masterpiece. These are not the first words you expect to see applied to a giant-budgeted summer entertainment made by one of the industry's most dependably commercial big-name directors. But this is a war film like few others, one that may employ a large and expensive canvas but that conveys the whole through isolated, brilliantly realized, often private moments more than via sheer spectacle, although that is here too.
  27. It's rare for a movie to be at once so biting and so moving. If Ryan's future seems bleak, there's something exhilarating about a movie made with such clear-eyed intelligence.
  28. As Catherine Bainbridge and Alfonso Maiorana’s astoundingly rich and resonant music documentary makes abundantly clear, American popular music – and the history of rock and roll itself – wouldn’t be the same without the contributions of Native American performers.
    • 89 Metascore
    • 100 Critic Score
    This couldn't be other than a Capra picture, the humanness of its story the dominant factor at every turn of situation. His direction of the individual characterizations delivered is also distinctively his, and the performances, from the starring roles of James Stewart and Donna Reed down to the smallest bit, are magnificent. When Capra is at his best, no one can top him.
  29. Greengrass has made not only a thoroughly fact-checked film but a film that uncontrovertibly comes from the heart.
  30. This over-the-top, ultraviolent, hyperkinetic action thriller pretty much has it all.
    • 100 Metascore
    • 100 Critic Score
    Director Francis Ford Coppola, with a strong assist from cameraman Gordon Willis, has done an extraordinary job of capturing period and place.
  31. Classily and classically crafted in the best sense by director John Crowley and screenwriter Nick Hornby, this superbly acted romantic drama is set in the early 1950s and provides the feeling of being lifted into a different world altogether, so transporting is the film’s sense of time and place and social mores.
  32. At once the most realistic and beautifully choreographed film ever set in space, Gravity is a thrillingly realized survival story spiked with interludes of breath-catching tension and startling surprise.
  33. Kill Bill-Vol. 2 puts to shame doubts entertained about aesthetic strategies or structural imbalance provoked by "Kill Bill-Vol. 1." Now that the entirety of Quentin Tarantino's epic revenge melodrama is on view, "Kill Bill" emerges as a brilliant, invigorating work, one to muse over for years to come.
  34. The latest installment could well be Romero's masterpiece. Taking full advantage of state-of-the-art makeup and visual effects, he has a more vivid canvas at his disposal, not to mention two decades worth of pent-up observations about American society.
  35. The simplest of stories can be elevated by first-rate acting and directing. Consider Stephane Brize's Mademoiselle Chambon, a French film that achieves a subtle but devastating impact.
  36. Disney's 30th animated feature, Beauty and the Beast stands at the pinnacle of animated accomplishment, even when weighted against the excellencies of its lineage.
  37. One of the best film musicals in years -- exuberant, sexy and life affirming in equal measure.
  38. The movie is a small marvel of impeccable craftsmanship.
  39. This is a wonderfully odd consideration of those questions about love, pain, solitude and human connection we all ask; its emotional power creeps out from under the subtle humor and leaves a subcutaneous imprint that lingers long after the movie is over.
  40. Not unlike her gutsy protagonist, Twomey moves through the charged landscape with extraordinary agility. Combining gripping suspense with a quote from the immortal Persian poet Rumi, she creates a stirring final sequence from the rising chords of terror and resilience.
  41. Pixar again hitches top-notch storytelling to the very best in CG animation.
  42. It's a delightful piece of filmmaking with a marvelous cast topped by Meryl Streep in one of her smartest and most entertaining performances ever.
  43. Where many filmmakers would have underlined the bleaker, harsher aspects, Girlhood presents the characters' grim reality without surrendering its lightness of touch, its compassion or its hope.
    • 94 Metascore
    • 100 Critic Score
    An epic success and a history-making production that finishes with a masterfully entertaining final installment.
  44. Muylaert does a deft job here of plotting her story and setting up her characters and their predicaments in ways that immediately invite reflection.
    • 100 Metascore
    • 100 Critic Score
    Citizen Kane is a great motion picture. Great in that it was produced by a man who had never had any motion picture experience; great because he cast it with people who had never faced a camera in a motion picture production before; great in the manner of its story-telling, in both the writing of that story and its unfolding before a camera; great in that its photographic accomplishments are the highlights of motion picture photography to date, and finally great, because technically, it is a few steps ahead of anything that has been made in pictures before.
  45. A story that soars with breakneck pace but slows in all the tender moments. Visually, this train ride is both majestic and edge-of-your-seat.
  46. Shot rivetingly by cinematographer Brooke Aitken, who combines digital, night-vision and thermal-imaging formats into a formidable package, the footage is edited tautly by Geoffrey Richman and enhanced measurably by J. Ralph's suspenseful score.
    • 87 Metascore
    • 100 Critic Score
    Perhaps the most perfectly constructed horror story in our time.
  47. Alternately haunting, inspiring and dreamily meditative, this is a visually majestic film of transfixing moods and textures.
    • 91 Metascore
    • 100 Critic Score
    Steven Spielberg has done it again. He has created another instant American classic.
  48. Two things stand out: the extraordinary command of cinematic technique, which alone is nearly enough to keep a connoisseur on the edge of his seat the entire time, and the tremendous portrayals by Joaquin Phoenix and Philip Seymour Hoffman of two entirely antithetical men
  49. Barry Jenkins' Moonlight pulls you into its introspective protagonist's world from the start and transfixes throughout as it observes, with uncommon poignancy and emotional perceptiveness, his roughly two-decade path to find a definitive answer to the question, "Who am I?"
  50. Visually, intellectually and emotionally, McDonagh’s film is one to savor.
  51. Equal parts ethnographic and poetic, this eloquent drama's stirring soulfulness is laced with the sorrow of cultural dislocation but also with lovely ripples of humor and even joy.
  52. At every imaginative juncture, the filmmakers (the screenplay is credited to Pixar veteran Molina and Matthew Aldrich) create a richly woven tapestry of comprehensively researched storytelling, fully dimensional characters, clever touches both tender and amusingly macabre, and vivid, beautifully textured visuals.
  53. Ralph Fiennes directs and stars in Coriolanus as William Shakespeare's Rambo in a production that delivers heavyweight screen acting at its best.
    • 71 Metascore
    • 100 Critic Score
    With Mark Ruffalo and Ethan Hawke registering personal bests in the performance category as well as playing magnificently and ultraconvincingly off each other, What Doesn't Kill You, a true story that is powerful and completely riveting from beginning to end.
  54. Claire Denis, not always an easy director, is in top form here directing an almost all-black cast with grace and delicacy. For the happy few, this is French art house cinema at its unpretentious best.
  55. With "instant classic" written all over it, Toy Story, the first full-length feature entirely composed of computer-generated animation, is a visually astounding, wildly inventive winner.
  56. A fabulous and passionate love letter to the cinema and its preservation framed by the strenuous adventures of two orphans in 1930s Paris.
    • 97 Metascore
    • 100 Critic Score
    Some Like It Hot is another supersonic, breakneck, belly-laugh comedy that should be a block-busting bonanza at the box office. It should be a proof that when the making of pictures is taken out of the bands of men-of-measured-merriment and handed over to men whose only purpose is to create amusement, they are still the world's best means of entertainment. Billy Wilder, who produced, directed and wrote the screenplay, with I.A.L. Diamond, was on the front burner all the way.
  57. Driven by a brilliant, ferocious performance by Michael Fassbender, Shame is a real walk on the wild side, a scorching look at a case of sexual addiction that's as all-encompassing as a craving for drugs.
  58. Like a shooter whose skill allows him to take careful aim with a rifle rather than going for the easy splatter of a buckshot, director Eastwood's big picture is suredly calibrated: He points your eye to the tiniest specs, the most telling and powerful parts of this moral panorama.
  59. Fully justifying the decision, once thought purely mercenary, of splitting J.K. Rowling's final book into two parts, this is an exciting and, to put it mildly, massively eventful finale that will grip and greatly please anyone who has been at all a fan of the series up to now.
  60. Meticulous care is evident in every aspect of the film. All three actors playing Pi are outstanding.
    • 70 Metascore
    • 100 Critic Score
    There's really very little to say about this film beyond that it's absolutely brilliant.
  61. Not only (Kaufman's) most accessible and romantic screenplay, it's his most complete. The third act works like a charm and pulls all his themes, characters and conflicts together beautifully.
  62. This is a compassionately observed story told with unimpeachable naturalism and without a grain of sentimentality, propelled by a remarkable performance from Charlie Plummer that's both internalized and emotionally raw.
  63. It’s a non-stop blast from beginning to end, jam-packed with a wacky irreverence, dazzling state-of-the-art CGI (courtesy of Animal Logic) and a pitch-perfect voice cast headed by Chris Pratt, Elizabeth Banks and Will Ferrell.
  64. Representing a dazzling artistic leap forward for LAIKA, the stop-motion animation studio’s fourth feature — and first full-blown fantasy — is an eye-popping delight that deftly blends colorful folklore with gorgeous, origami-informed visuals to immersive effect.
  65. This is a gorgeously made character study leavened with surrealistic dimensions both comic and dark, an unsparing look at a young man who, unlike some of his contemporaries, can’t transcend his abundant character flaws and remake himself as someone else.
  66. Director Julian Schnabel and screenwriter Ronald Harwood have performed a small miracle in adapting for the screen Jean-Dominique Bauby's autobiography The Diving Bell and the Butterfly.
  67. The rich vein of unsettling darkness and psychological unease that ripples like a treacherous underground stream beneath the absurdist humor of Yorgos Lanthimos' work becomes a brooding requiem of domestic horror in his masterfully realized fifth feature.
  68. Paced at warp speed with spectacular action sequences rendered brilliantly and with a cast so expert that all the familiar characters are instantly identifiable.
  69. With writer-director del Toro given free license to go where his singular vision takes him, Hellboy II plays like Guillermo's Greatest Hits with even hotter visual effects.
    • 89 Metascore
    • 100 Critic Score
    Blade Runner is a cold, bold, bizarre and mesmerizing futuristic detective thriller that unites the British-born director of Alien with new box-office dynamo Harrison Ford for results that are as impressive as any film that's exploded through a projector so far this year.
  70. An infectious blast of funky jazz played by a terrific cast and a director at the top of their respective games.
  71. A riveting first feature of startling maturity and intelligence.
  72. The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.
  73. An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace.
  74. Under Eastwood's painstakingly stripped-down direction -- his filmmaking has become the cinematic equivalent of Hemingway's spare though precise prose -- the story emerges as that rarest of birds, an uplifting tragedy.
  75. An achingly eloquent rumination.
  76. An exhilarating fish story in the perfectly cast comic adventure.
  77. Anurag Kashyap's Black Friday is a superb and devastating piece of cinema that with justification can be compared favorably to Gillo Pontocorvo's classic "The Battle of Algiers" in its dispassionate yet sweeping journalistic inquiry into cataclysmic social and political events.
    • 69 Metascore
    • 100 Critic Score
    This Batman is a stunning achievement, especially through the incredible and unique visualization of director Tim Burton. The film may be disappointing to those expecting a campy cartoon, however, although the more dramatic stylization of this version is its strongest asset.
  78. It Might Get Loud offers a thrilling personal tour of three exceptional electric guitarists' careers that's equally appealing to musicians and rock enthusiasts alike.
  79. It's very much an art piece, to be sure, but it feels like a genuine one that, while meditated, speaks fluently and truly for the place, people and culture it so indelibly depicts.
  80. More unconventional and downright weird on a moment-to-moment basis than it is in overall design and intent, it's a singular work played out mostly in small rooms that harks back to psychological melodramas of the 1940s/50s but hits stylistic notes entirely its own.
  81. This is one hot, provocative, revelatory and astonishing documentary, one sure to provoke enthralled interest and controversy wherever it is shown worldwide.
  82. This is a beautifully crafted work and an acute evocation of its period both in look and attitude, and it’s no less deeply absorbing for being somewhat muted in tone.
  83. At once heartbreaking and uplifting.
  84. An explosive combination of highly personal moral drama and a wider, scathing portrait of a country in which corruption and greed seem to be the only shared values left, this well-oiled narrative machine is further aided by a clever ticking-clock mechanism that actually ratchets up the tension the longer the characters’ vodka-soaked, blame-game speeches are allowed to go on.
  85. Crisply shot and edited, with effective use of Ashutosh Phatak’s graceful music, this is a powerful documentary that demands to be seen by as wide an audience as possible.

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