The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,774 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Racing Extinction
Lowest review score: 0 Dirty Love
Score distribution:
5,774 movie reviews
  1. performances from Saoirse Ronan and Cynthia Nixon keep Stockholm, Pennsylvania intense and absorbing, but Nicole Beckwith's initial impulse to tell her confinement story as a stage play feels as if it might have been a sounder choice.
  2. While the 1977 Fun With Dick and Jane was a reasonably diverting sendup of conspicuous consumption with a subversive if not always razor-sharp comic edge, the new version... replaces smart performances with tired shtick.
  3. The spotlight illuminates a well-chosen quintet of subjects, all wholesomely passionate practitioners of a readily dissed form of entertainment and each at a different point in their career.
  4. Unfortunately, the screenplay contains little real wit, with the result that the various plot machinations have a strained quality that tends to reduce the proceedings of their intended giddiness. On the other hand, the performers are attractive; there's plenty of nudity; the setting is scenic, and the musical numbers -- well, they're pretty bad.
  5. After a very funny start, there just isn't enough content to fill the feature-length curriculum.
  6. Weinstock takes you down a well-trod path in romantic comedy, but her characters are smart and funny, the twists are unexpected.
  7. The film's chief asset is its superbly atmospheric evocation of its period milieu.
  8. Their heart is in the right place, and their tale is colorful, complete with Indian dancers in ceremonial costumes dancing on a street corner.
  9. A dramatic story, to be sure, but not exactly grippingly told by its first-time filmmaker.
  10. You sense in every frame the strain to be lighthearted. Consequently, A Good Year is at times downright clumsy. You know what the filmmakers are trying to achieve and see the labor going into the attempt, but for them to fall so short is unsettling.
  11. An artistic fiasco that cuts across genre lines and all logic to become, perhaps, an instant midnight movie.
  12. Not that it isn’t entertaining, but the film's premise is certainly well past its “use by” date, resulting in another passably palatable sequel distinguished by a lack of narrative and stylistic coherence that could potentially underpin a really viable franchise.
  13. This intriguing if hardly revelatory account offers some provocative moments, even if the personal access doesn't really add very much.
  14. McConaughey and Parker get stranded with thanklessly predictable scenes, while Zooey Deschanel, Kathy Bates and Terry Bradshaw garner the film's few laughs.
  15. Gibson's intense concentration on the scourging and whipping of the physical body virtually denies any metaphysical significance to the most famous half-day in history.
  16. Sharp, vivacious comedy.
  17. Ultimately, the sex scenes seem of far more interest to the filmmakers than the narrative or characterizations, which are rendered in frustratingly vague and often deliberately confusing fashion.
  18. Despite relocating across the pond to the esteemed British Museum, the creaky Night at the Museum: Secret of the Tomb fails to capitalize on the comic potential provided by that change of venue.
  19. All of this results in way too much relationship chatter and not nearly enough comedy, romance or even dysfunctional relationships. We want to laugh -- but at what?
  20. Ending with neither a bang nor a whimper, the finale falls somewhere in between. It's an improvement over its concurrently shot, babbling predecessor, but it ultimately fails to capture any of that jaw-dropping sense of exhilaration that made the original such a must-see event.
  21. Probably needed more originality than is on display. With an age-old cinema theme of a young man's maturation, it also needs to land female ticket-buyers but seems a lot like something women could find at home on the WE channel.
  22. A campy pastiche of horror and high-school movie cliches, the film only rises above standard-issue scare fare by dint of Cody's sneaky sense of humor.
  23. Although unlikely to make any new converts, The M Word should well satisfy the filmmaker’s small legion of devoted fans.
  24. [A] semi-convincing yet enjoyable tale, relying on familiar names in a cast that acquits itself well given the demands of the unusual plot.
  25. For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.
    • 47 Metascore
    • 50 Critic Score
    Despite this promising subject matter, the film runs out of steam two-thirds of the way through and becomes a sort of Palestinian "Porky's," ending with a fast-forward 30 years into the future that is confusing and abrupt.
  26. Politicians, the media, educators, military commanders and a docile public all come under fire in a well-made movie that offers no answers but raises many important questions.
  27. Legally bland.
  28. The film is less of a drama than a tribute -- an ode, even -- to the spirit and tenacity of firefighters. Its makers hardly bother to explore the lives or motives behind their actions.
  29. While it certainly looks swell thanks to director John Moore's striking visuals, the wings of this rebuilt "Phoenix" have been clipped by generic scripting and a short supply of dramatic tension.

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