The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,369 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Kinsey
Lowest review score: 0 Contract to Kill
Score distribution:
7369 movie reviews
  1. At once heartbreaking and uplifting.
    • 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.
  2. It's the selective but cumulative use of seemingly arbitrary but significant experiences that gives Boyhood its distinctive character and impressive weight.
  3. 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?"
  4. 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.
  5. The performers are all good with Baquero poised and beautiful as Ofelia and Verdu vital and spirited as the rebellious Mercedes. Lopez gives an extraordinary performance as the bestial captain, an irredeemable villain to rank with Ralph Fiennes' Nazi in "Schindler's List."
  6. The film is dark, gloomy and without music, but it is also observant and highly suspenseful, with Mungiu using his often static camera to balance banal cruelty with simple generosity.
  7. Shocking and enraging, funny and surreal, rapturous and restorative, this is a film of startling intensity and sinuous mood shifts wrapped in a rock-solid coherence of vision.
  8. Perhaps the nature of the story is such that the film can’t help but be obvious and quite melodramatic at times, but it gets better as it goes along and builds to a moving finish.
  9. Lonergan layers and then layers some more, allows his characters to stew, not always disclose themselves and then come to decisions and changes naturally, or after due deliberation. And they can relapse and not always be ready for the breakthrough moment toward which the story seems to be pointing. The result is something that feels more akin to a full meal than the usual cinematic popcorn.
  10. Brad Bird and Pixar recapture the charm and winning imagination of classic Disney animation.
  11. 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.
  12. It is a searing and topical indictment of racial prejudice and hatred in America that makes for uneasy viewing and is not easily forgotten.
  13. 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.
  14. Blanchett makes an indelible impression as a woman who, through breeding, intense personal cultivation and social expectations, has brilliantly mastered the skill of navigating through life.
  15. 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.
  16. The film comes down to a mesmerizing portrait of a man who in any other age would perhaps be deemed nuts or useless, but in the Internet age has this mental agility to transform an idea into an empire.
  17. The film's power steadily and relentlessly builds over its long course, to a point that is terrifically imposing and unshakable.
  18. As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.
  19. The work Richard Linklater and company started in 1995's Before Sunrise retains a clarity of spirit undimmed by 18 years.
  20. Do not expect blazing emotional fireworks, just finely calibrated performances and deep reserves of inner torment.
    • 94 Metascore
    • 90 Critic Score
    Spirited dazzles and entertains like no other movie this year. It also comes to a satisfying conclusion and never once seems to take shortcuts. Miyazaki is one of world cinema's most wondrously gifted artists and storytellers.
  21. Anchored by a masterful performance by Timothy Spall in a role he was born to play, and gilded by career-best effort from DoP Dick Pope, working for the first time on digital for Leigh to bridge the gap between the painting and cinematography, Mr. Turner manages to illuminate that nexus between biography and art with elegant understatement.
  22. Tensely action-packed and muscularly directed by Kathryn Bigelow, this tale of an elite U.S. army bomb disposal unit in Baghdad is a familiar story in new clothes, targeted at the young male demographic.
  23. The visual design of Wall-E is arguably Pixar's best. Stanton, who wrote the script with Jim Reardon from a story he concocted with Peter Docter, creates two fantastically imaginative, breathtakingly lit worlds.
  24. Hysterically funny yet melancholy comedy.
  25. Director David Weissman brings a rewardingly fresh and personal perspective to the subject.
    • 94 Metascore
    • 100 Critic Score
    An epic success and a history-making production that finishes with a masterfully entertaining final installment.
  26. It’s an audacious concept, and Docter’s imagination, along with those of his numerous collaborators, is adventurous and genially daft enough to put it over.
  27. It is a tremendous achievement that shines a light on the way many countries use criminals to further their domestic and international goals. Politically informative, it also offers great drama with excitement and suspense, and no little tragedy.
  28. Berliner crafts a quietly touching and illuminating memento mori from the steady dying of an intellectual light.
  29. Magnificent in its simplicity and its relentless honesty about old age, illness and dying, Michael Haneke's Amour is a deliberately torturous watch.
  30. According to the most basic laws of cinema, Toni Erdmann, Maren Ade’s third feature as a writer-director (she has five times that many credits as a producer), shouldn’t work. It’s practically one long string of nesting, oxymoronic self-cancelling paradoxes: here is the world’s first genuinely funny, 162-minute German comedy of embarrassment.
  31. 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.
  32. Rarely are documentaries as powerfully polemic and jaw-gapingly spectacular as Sherpa.
  33. Arriving amidst a tidal wave of overblown and frequently charmless big studio efforts, Sita Sings the Blues is a welcome reminder that when it comes to animation bigger isn't necessarily better.
  34. 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.
  35. What's most singular about the project — beautifully shot in black-and-white 3D, which often gives the images a beguiling disembodied quality — is that in addition to providing access to the creative process and deepening the album experience, it serves as a profoundly affecting reflection on the pain of parents who have lost a child.
  36. 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.
  37. 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.
  38. Heineman offers up a double portrait of devastation, of a truly destroyed city and of partially decimated survivors, leaving the viewer with an empathetic sense of deep sorrow.
    • 92 Metascore
    • 100 Critic Score
    Lucas combines excellent comedy and drama and progresses it with exciting action on tremendously effective space battles. Likeable heroes on noble missions and despicable villains capable of the most dastardly deeds are all wrapped up in some of the most spectacular special effects ever to illuminate a motion picture screen. The result is spellbinding and totally captivating on all levels.
  39. The film’s methods are boldly unorthodox and its constantly alternating moods and shifts in tone from drama to humor, joy to tragedy can be disconcerting. It’s not a film for all audiences, but despite its eccentricities it is always watchable, thanks to strongly drawn characters and the soul-stirring poetry of its imagery.
  40. Daniel Day-Lewis stuns in Paul Thomas Anderson's saga of a soul-dead oil man.
  41. A fully rounded and complicated portrait of both the man and a company that somehow managed to survive under devastating circumstances.
  42. Kitty Green creates something powerful, provocative and dazzlingly original with her second feature.
    • 92 Metascore
    • 100 Critic Score
    The visuals here...are never less than stunning in their impact, yet always seem well within the realm of possibility. It is also to Spielberg's credit, however, that despite all of this visual opulence, his actors are never dwarfed.
  43. Simultaneously a modern essay on suffering, an open-ended thriller, and a black social comedy, it is most importantly of all a thinly-veiled political parable drenched in bitter irony that takes aim against the corrupt, corrosive regime of Vladimir Putin.
  44. Though clearly not a proposition for either devout Christians or audiences for whom the multiplex is a temple, this is the kind of take-no-prisoners art house fare that advances and deepens the understanding of a singular director’s oeuvre as a whole.
  45. Woody, Buzz and playmates make a thoroughly engaging, emotionally satisfying return.
  46. The Look of Silence is perhaps even more riveting for focusing on one man’s personal search for answers as he bravely confronts his brother’s killers.
  47. As the melee comes to feel like it may never end, the film executes a masterful narrative shift that will produce instant lumps in many viewers' throats.
  48. A fascinating mix of high-minded gossip and historical perspective, examines the clash of values -- of ritual and traditions versus media savvy and political ambition -- that leads to a crisis for the British monarchy.
  49. The movie is a small marvel of impeccable craftsmanship.
  50. This playfully complex and gently slippery analysis of memory and personal narrative manages to engage us in what's essentially the private business, some might even say the dirty laundry, of total strangers.
  51. Amazingly, Panahi turns the utterly simple, economical format of a camera inside a car into something relevant to his own artistic state and full of eye-opening insights into Iranian society.
  52. The Coens' typically superior filmmaking sustains the electrifying mood for most of the picture, but they are undone by being too faithful to the source novel by Cormac McCarthy.
  53. This is one hot, provocative, revelatory and astonishing documentary, one sure to provoke enthralled interest and controversy wherever it is shown worldwide.
  54. What comes out of this unlikely comparison between astronomy and history is a totally new perspective, something broader, with glimpses into deeper meanings.
  55. Ida
    Frame by frame, Ida looks resplendently bleak, its stunning monochromes combining with the inevitable gloomy Polish weather and communist-era deprivations to create a harsh, unforgiving environment.
  56. The film is an important step toward repairing the broken links and resurrecting almost a century of music and the women who made it.
    • 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.
  57. To say 13th is stimulating and thought-provoking is the understatement of the year.
  58. Grim backwoods tale takes its time building momentum.
  59. It’s an altogether strange but astonishing work of craftsmanship.
  60. There is no denying the passion or intelligence of this work, which is meant to be an encouragement to explore the films for ourselves rather than a dry history lesson. On that level, "Viaggio" fully succeeds.
  61. Her
    This is a probing, inquisitive work of a very high order, although it goes a bit slack in the final third and concludes rather conventionally compared to much that has come before.
  62. A terrifically engaging picture of life beyond the headlines, My Perestroika lifts the veil of Cold War mystery.
  63. Blurring the confines between documentary and fiction, it takes the empathetic viewer on an incredible journey that can be almost as painful to follow vicariously from a theater seat as it must have been on the pilgrims.
  64. An exhilarating fish story in the perfectly cast comic adventure.
  65. This is one of the most wildly romantic movies in ages.
  66. Pixar again hitches top-notch storytelling to the very best in CG animation.
    • 90 Metascore
    • 80 Critic Score
    What's most immediately remarkable about the film is the raw intensity of its hyper-realistic encounters, hugely enhanced by the superb acting of newcomer Rahim.
  67. While there are implicit references to the horrors of the Soviet and post-Soviet state and to the 20th century in general, this monstrously overflowing film seems to aim even higher.
  68. It's an extraordinary film.
  69. Emotionally involving material is the key element to a good human-interest documentary, and Lipitz, a Baltimore native with a background in Broadway producing, has tapped into a great story here of adversity, struggle and elevating achievement.
  70. The Fits is a lovely character portrait, abstract and yet highly evocative, given an other-worldly feel by deft use of slow-mo, sinuous tracking sequences and music that ranges from ambient drones to discordant strings and the percussive claps, clicks and stomps of the drill routines.
  71. Greengrass has made not only a thoroughly fact-checked film but a film that uncontrovertibly comes from the heart.
  72. The first two Max features ran barely 90 minutes and it takes guts and real confidence to dare push a straight chase film with very little dialogue to two hours. But Miller has pulled it off by coming up with innumerable new elements to keep the action compelling.
  73. Utterly compelling account of a true-life criminal investigation where "truth" can never be pinned down.
  74. An infectious blast of funky jazz played by a terrific cast and a director at the top of their respective games.
  75. Unassuming, idiosyncratic and set in the run-down eponymous New Jersey city that has produced more than its share of noted personalities, this is a mild-mannered, almost startlingly undramatic work that offers discreet pleasures to longtime fans of the New York indie-scene veteran.
  76. The filmmakers were right to believe that a live-action version of this story would have failed to achieve the universality Persepolis does.
  77. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood.
  78. Lo Cascio and Boni inhabit their roles with keen intellectual and emotional vigor.
  79. The film is non-fiction storytelling of remarkable nuance.
    • 89 Metascore
    • 80 Critic Score
    Starts out dark and challenging then comes to a startlingly satisfying and warmly human conclusion that lingers long after the curtain has come down.
  80. A glorious new addition to martial-arts cinema.
  81. The sense of time passing is hypnotic, and the image of the ghost, wounded and watching, unable to communicate or offer comfort, becomes more eerie and beautiful the longer we observe it.
    • 89 Metascore
    • 80 Critic Score
    Kore-eda listens to his characters' inner thoughts with the attentiveness of a piano tuner, and reveals them with the lightest inferences.
  82. 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.
  83. The weapon wielded by Cohen and Charles is crudeness. People today, especially those in public life, can disguise prejudice in coded language and soft tones. Bigotry is ever so polite now. So the filmmakers mean to drag the beast out into the sunlight of brilliant satire and let everyone see the rotting, stinking, foul thing for what it is. When you laugh at something that is bad, it loses much of its power.
    • The Hollywood Reporter
  84. It’s all quite perverse for sure, which of course is no surprise coming from either the actress or the director, though what’s welcome about Elle is the way they combine their talents to make a film that hardly skimps on the sex, violence and sadism, yet ultimately tells a story about how one woman uses them all to set herself free.
  85. It’s a lovely piece of work.
  86. Cannily interweaving its personal stories with a vivid depiction of an eco-system on the verge of collapse, Uncertain marks an outstanding feature debut for its documentarians.
  87. Utterly uneasy to watch but strikingly and confidently assembled, the film is a powerful aural and visual experience that doesn’t quite manage to sustain itself over the course of its running time, but is a remarkable — and remarkably intense — experience nonetheless.
  88. It's enriched by signature qualities – the humanistic, nonjudgmental gaze, the absence of sentimentality, the ultra-naturalistic style – that have always distinguished the Belgian brothers' fine body of work.
  89. National Gallery feels closer to a pure aesthetic investigation than an organizational exposé, and in that respect is reminiscent of recent Paris-set films like Crazy Horse or La Danse, mostly allowing the art to speak for itself.
  90. May not offer up any fresh revelations, but this effectively assembled documentary puts it all in valuable, if depressing, perspective.
  91. Both a powerful allegory for post-war regeneration and a rich Hitchcockian tale of mistaken identity, Phoenix once again proves that German filmmaker Christian Petzold and his favorite star, Nina Hoss, are clearly one of the best director-actor duos working in movies today.

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