The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,971 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 Charlie's Country
Lowest review score: 0 Dirty Love
Score distribution:
5,971 movie reviews
  1. Suffers from an awkward, plodding structure that robs it of much of its dramatic effect.
  2. It is a strange cross-breed between an old-fashioned WWII epic full of genre cliches and a modern update whose meticulous historical recreation is frighteningly real.
  3. There is a fine idea for a romantic comedy in Jake Paltrow's The Good Night but the writer-director, in his debut feature, never develops it much beyond the idea stage.
  4. Full of incident but nearly devoid of dramatic tension, The Children of Huang Shi is a based-on-fact saga that has lost much of its power on the long road to the screen.
  5. Woodard conveys the rock-solid values of a true Christian without ever falling into sappiness. Bates is enjoyably larger-than-life, as the role requires.
  6. Despite the performer’s engaging charisma, One Track Heart ultimately lacks the contextual depth to make it more than mildly interesting.
  7. Unfortunately, the film itself -- though it contains some superbly staged and highly lavish action sequences -- lacks the tautness of its heroine.
  8. Despite that nagging whiff of familiarity, there are enough character quirks and inspired bits of funny business to carry this amiable if slight tale.
  9. Convincing in its depiction of late-20s romantic anxiety (if not of that age bracket's real estate realities), it is broadly appealing without bowing too deeply to formula.
  10. It's an unusual idea but fails -- Sun spends so much time on the mood and atmosphere that he forgets about the story.
  11. Call this one "Brother Act." Instead of Whoopi Goldberg's Reno lounge singer in "Sister Act," Preaching to the Choir has a hip-hop star hiding out from a gangsta record producer in his estranged brother-minister's Harlem church.
  12. Should be intriguing to all who know the family, as well as to cineastes yonder at the arty film schools who will lap up its elliptical/self-reflexive style. Normal people will simply walk out on it.
    • 49 Metascore
    • 50 Critic Score
    Sumptuously clothed in vintage fashion, pop idols Wu and Hsu may bring in a younger crowd otherwise indifferent to the dated subject, but their performances are unimpressive.
  13. A lovable underachiever unwittingly spawns his own village in Starbuck, Ken Scott's crowd-pleasing comedy exploring various meanings of fatherhood in the modern age.
  14. The film tracks the history of the country, but viewers may feel the documentarian inserts herself too much into the story.
  15. The disappointments here are many, from a starry cast the film ill-uses to flat musical numbers that never fully integrate into the dramatic story. The only easy prediction is that Nine is not going to revive the slumbering musical-film genre.
  16. Fleischer stages one chase scene with a bit of comic flair but otherwise never locates that mix of macabre action and comedy that at least made "Zombieland" amusing.
  17. Evans directs energetically, and the personable actors help to keep us involved, but the picture skims stubbornly along the surface.
  18. This contemporary riff on "The Sunshine Boys" generally manages to succeed anyway, thanks to the entertaining performances by Mac and co-star Samuel L. Jackson and its generous doses of raucous humor and sweet soul music.
  19. A creaky haunted house that, once the big twist is revealed, makes very little sense at all.
  20. Like many action stars, Statham is good at cool brooding, but West's frantic style works against this.
  21. Young director Marek Najbrt, commendably, is not interested in wringing easy tears from the European experience of World War II. In the handsome drama Protektor, he brings a cool, noirish slant to a story of Czech artists and intellectuals as they accommodate and to a lesser extent resist the German occupiers.
  22. Although screenwriter John Kare Raake’s Raiders of the Lost Ark template may sometimes seem a bit shopworn, at least it doesn’t dwell too indulgently on Viking mythology, playing to the strengths of the action scenario instead.
  23. Despite the presence of Shirley MacLaine and Christopher Plummer, both sprightly and appealing in the lead roles, this misfire of a cornball romance is so tone-deaf, so utterly lacking in screwball snap and visual punch, that viewers will find it hard to care whether or not the aging lovebirds end up in each other’s arms.
  24. The movie plays quite well for a while but begins to run out of steam in its second half, its occasional laughs not coming quickly enough to keep us interested in the unfolding lore of 19th century murders.
  25. Though it contains some nice twists, the story is largely predictable and old-fashioned in ways both good (the characters’ unlikely come-what-may camaraderie) and bad (misogyny and machismo abound).
  26. Cub
    This unquestionably good-looking film, shot by world-class cinematographer Nicolas Karakatsanis (The Drop, Bullhead), plays like a Low Countries-variation on the classy Spanish-language work of Guillermo Del Toro, at least in terms of style if not substance, with what little narrative there is more of a clothesline for small-scale set pieces rather than a conduit for character insight.
    • 49 Metascore
    • 50 Critic Score
    Australia makes a modest contribution to the growing sub-genre of everyman superhero movies with Griff the Invisible, a sweet but scattershot debut from local TV actor Leon Ford.
  27. Under Saldanha's guidance, an extensive team of animators and visual effects artists elevates the 3D format to an alluring level, with character details, dense background imagery and often complex action and aerial sequences (including a requisite Busby Berkeley-inspired musical number) appearing effortlessly executed.
  28. Less twisted than Natali's last film, Splice, it's sufficiently novel to uphold his reputation as a filmmaker not content telling conventional fanboy stories.

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