The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,681 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 Brooklyn
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5,681 movie reviews
  1. Lightweight but likeably uncynical.
  2. With a loose-limbed naturalness, she conveys naiveté, intellectual curiosity and romantic yearning, and shows the unassuming Ana’s newfound thrill at being seen, however complicated the man holding her in his admiring gaze. She’s open and vulnerable but no fool. Best of all, Johnson and her director embrace Ana’s paradox: She snickers at Christian’s predilections, but they also turn her on.
  3. Though the concept serves as a soul-stirring showcase for contemporary inspirational performers, the writing and direction (both attributed to Rob Hardy) commit a multitude of sins.
  4. The ensemble cast members play well off one another, particularly Fan as the self-absorbed Bruce Lee wannabe and Lynn in the role of the monumentally ignorant casting director.
  5. Da Vinci never rises to the level of a guilty pleasure. Too much guilt. Not enough pleasure.
  6. The cast's evident delight might be enough for some moviegoers, but with so much talent and so little modulation on offer, audiences subjected to the onslaught could reasonably expect a higher laughs-to-torture ratio.
  7. Although the film's jabs at TV journalism are nothing new, Carrey brings to the material the sense of someone who's too smart for his work yet loves it -- the essence, perhaps, of being a ham.
  8. Oddly bereft of scares or tension, the film is mainly notable for its sustained atmosphere of weirdness.
  9. Where the first film was something of a teen horror film, the follow-up, again from writer-director Stefan Ruzowitzky, is more of an unintentional comedy.
  10. Saw
    Boasts an undeniably original premise and clever plot machinations that lift it several notches above the usual slasher film level.
  11. A challenging, thought-provoking debut that compassionately questions the relevance of celibacy in the Catholic Church.
  12. Finally, there is an answer to the old question, "What's more boring than watching golf on television?" As the new docu 95 Miles to Go reveals, watching Ray Romano watching golf on television is much more boring.
  13. Shades of "Like Water for Chocolate" and "Chocolat" -- but unlike the latter's tender Juliette Binoche-Johnny Depp romance, the ordained Rai-McDermott union fails to generate any convincing heat, and no amount of cardamom pods or lotus root is going to help.
  14. Scott's film chronicling the rise of one of the world's fastest-growing sport is best geared to fans, presenting those of us with merely a casual interest with far too much information and repetitive footage of snowboarders in action.
    • 46 Metascore
    • 50 Critic Score
    CJ7
    A hyperactive, wishful-thinking special effects fantasy suitable for family outings.
  15. Put three old friends in a convertible for a cross-country road trip to a loved one's funeral, and what do you get? Very few surprises, in this feel-good fluff that, despite offering nothing novel, could do well with older audiences who rightly feel that too few films are being made with them in mind.
  16. Vaguely pitched somewhere between indie-gritty and predictably conventional, the film struggles to strike a manageable equilibrium, much as its characters attempt to navigate the prospects and pitfalls of a footloose life overseas.
  17. Although clearly a labor of love for its creator, this coming-of-age tale about a life-changing summer for a young man dreaming of becoming an artist lacks the dramatic momentum to propel audience interest.
  18. So muted and internal in its focus that its entire running time feels like a preamble to a drama that never quite begins.
  19. The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.
  20. A rare film dealing with Christian evangelism in a realistic way that neither mocks nor proselytizes, New Jerusalem quietly observes as a man tries to comfort his troubled best friend by bringing him to Jesus.
    • 46 Metascore
    • 50 Critic Score
    What Vishal Bhardwaj's Indian comedy brings in star power, it lacks in humor.
  21. Awkwardly condensing more than 20 years into a running-time well under two hours, director/co-writer Cao Hamburger needs a bigger canvas for his well-intentioned but underpowered saga.
  22. A fable-like horror mystery with strong comic and romantic tendencies, Alexandre Aja's Horns draws on source material by cult scribe (and son of Stephen King) Joe Hill to deliver something much more beguiling than the straighter genre fare (High Tension, The Hills Have Eyes) that made his name.
  23. The filmmakers attempt to inject some life into their dubiously thin narrative by incorporating sequences shot at actual haunted houses that favor more elaborate shock tactics.
  24. A Small Section of the World ably fulfills its mission of delivering its inspirational tale, but still seems mainly suitable for a corporate meeting.
  25. Though some of the movie's performances flirt with caricature (Siobhan Fallon's loud-mouthed aunt, Demi Moore as a brash and overtly sexual second wife), the movie has a center of gravity just strong enough to contain them.
  26. In short, No. 4 is one big snore.
  27. Featuring murky visuals, an even murkier narrative that lamely sputters to its conclusion, and frequently amateurish performances — the effectively low-key Isabelle is a notable exception — the film never explores its undeniably disturbing issues with enough thematic depth to compensate for its ragged execution.
  28. Beerfest is tedious and, at 112 minutes, too long to sustain a sophomoric, one-joke comedy even for the presumed target audience of older male teens and the college-age crowd.

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