The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,523 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 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Only Lovers Left Alive
Lowest review score: 0 Exists
Score distribution:
5,523 movie reviews
  1. At once heartbreaking and uplifting.
  2. It's the selective but cumulative use of seemingly arbitrary but significant experiences that gives Boyhood its distinctive character and impressive weight.
  3. 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.
  4. The use of sign language, deafness and silence itself adds several heady new ingredients to the base material, alchemically creating something rich, strange and very original.
  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. 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.
  8. Brad Bird and Pixar recapture the charm and winning imagination of classic Disney animation.
  9. 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.
  10. 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.
  11. The film's power steadily and relentlessly builds over its long course, to a point that is terrifically imposing and unshakable.
  12. As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.
  13. 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.
  14. The work Richard Linklater and company started in 1995's Before Sunrise retains a clarity of spirit undimmed by 18 years.
    • 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.
  15. 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.
  16. 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.
  17. 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.
  18. Hysterically funny yet melancholy comedy.
  19. 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.
  20. 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.
  21. Berliner crafts a quietly touching and illuminating memento mori from the steady dying of an intellectual light.
  22. Magnificent in its simplicity and its relentless honesty about old age, illness and dying, Michael Haneke's Amour is a deliberately torturous watch.
  23. 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.
  24. Gideon’s Army is an eye-opening insight into a judicial hellhole world that ordinary citizens can never imagine.
  25. Though it abounds in the kind of sardonic humor intrinsic to life’s absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails.
  26. 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.
  27. 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.
  28. 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.

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