The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,866 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 Youth
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5,866 movie reviews
  1. Although unlikely to make any new converts, The M Word should well satisfy the filmmaker’s small legion of devoted fans.
  2. [A] semi-convincing yet enjoyable tale, relying on familiar names in a cast that acquits itself well given the demands of the unusual plot.
  3. 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.
  4. 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.
  5. Legally bland.
  6. 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.
  7. 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.
  8. While it provides a sometimes thoughtful examination of modern sociological issues, The Architect unfortunately succumbs to melodrama in its depiction of its troubled characters.
  9. Women will love this, and men won't mind the eye candy either, so it looks like this Screen Gems release can't help becoming a hit.
  10. The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
  11. A decidedly old-fashioned war film that reaches for epic sweep but is often bogged down in cliched drama and two-dimensional characters.
  12. Paltrow shows a capable hand with the actors... However, the characters only intermittently engage our interest.
  13. Paints a surprisingly sour portrait of nearly all its characters, so much so that even the final-reel redemption rings hollow and forced.
  14. For much of the way, the film just feels like it's pressing too hard to make an impression.
  15. An initially promising genre reboot ends up feeling like a major failure of nerve.
  16. While Hooper favored shock value and jump scares, Kenan and cinematographer Javier Aguirresarobe construct far more fluid sequences as the camera glides and hovers over its subjects, reserving the most impactful shots for the climactic scenes, particularly a concluding sequence that’s particularly thrilling.
  17. Although the screenplay by Vizinberg and Lee Peterkin holds little in the way of surprises, it does offer a taut storyline and complex characterizations.
  18. Informative and lively if low on cinematic value, the documentary will play well on the small screen.
  19. The picture's first-person focus makes it surprisingly uninformative and occasionally annoying.
  20. Its undiscriminating focus, accepting artists whose degree of talent varies widely, may not help it with audiences seeking a fine-art doc, but many viewers will appreciate that very quality, enjoying this modest effort's celebration of a bootstrappy creative community.
  21. Atom Egoyan has delivered a big, slick and sexy mystery in Where the Truth Lies, turning the Rupert Holmes novel into a sumptuous tale of show business hype and duplicity.
  22. An often funny if slight satire that's never as edgy as it thinks it is or as sharply focused as it needs to be.
  23. Even those who have never been exposed to the considerable charms of the Masayuki Suo original will likely find Peter Chelsom's all-American version of Shall We Dance? to be a dishearteningly sullen, lead-footed misstep.
  24. Effectively creates a menacing atmosphere within the gleaming white halls of the hospital in which it is set, but its story line and characterizations lack the sufficient originality to lift the film above its many better predecessors.
  25. The picture is essentially a tearjerker, with little originality or insight.
  26. While several members of the cast valiantly fill the void where they can, these fish out of water could have made a greater high-definition splash if they had been thrown an occasional line or two rather than counting on inspiration to wash over them.
  27. A handsome production but one that struggles to integrate its various elements -- cabaret-society glamour, intellectual fervor, family drama, impossible romance and droll humor.
  28. A very sympathetic turn by Colm Meaney both lends box-office appeal and helps Byrne pull back from the saccharine possibilities inherent in the premise.
  29. The film is a relentlessly loud and ultimately exhausting exercise only partially leavened by the usual heavy doses of wisecracking humor and visual gags.

Top Trailers