The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,869 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:
5,869 movie reviews
  1. 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.
  2. The film is a relentlessly loud and ultimately exhausting exercise only partially leavened by the usual heavy doses of wisecracking humor and visual gags.
  3. Despite the clunky bits, "Tomorrow" still manages to deliver the blockbuster goods.
  4. It may sound like a backhanded compliment to praise this sometimes cheesy movie for never taking itself too seriously, but in a summer of bloated spectacles, this modesty should not be underestimated.
  5. A spare, creepily atmospheric psychological thriller with a death grip on the psychological aspect.
  6. Obviously, Munro is reaching for something about how people allow themselves to get mired in the past. But his characters and situations are so exaggerated and dreary that his point gets quickly lost.
  7. In a simpler form, Mojave might have been a gripping if minor genre film. Instead, it's undone by the sort of pretentious overwriting that might have seemed impressive in the '70s but now comes across as merely forced.
  8. Turning "Zorro" into a family movie with domestic squabbles and sitcom situations takes some of the luster off the romantic adventure of Old California.
  9. While Heigl is terrific, this uninspired romantic comedy is considerably less so.
  10. A grim little drama about a young woman's experiences with a left-wing cult, Alison Murray's debut feature suffers from disjointed storytelling and myriad other problems, including a bizarre reliance on modern dance sequences to interrupt the action.
  11. German-born director Robert Schwentke ("Flightplan") keep things moving briskly enough so that the leaps in time mostly obscure the leaps in logic.
  12. Begins as a marginally fun diversion before proving to have nearly no interest in the possibilities of its premise.
    • 47 Metascore
    • 50 Critic Score
    Although many of the subplots play nicely, they take away from the main thrust of the film: a tightly knit family living so close to the enemy, who rarely is seen and never understood. So this is relegated to a footnote in favor of story lines that, while wholesome, are neither dramatic nor cinematic.
  13. Amiable if predictable.
  14. An unremarkable romantic comedy that gives short shrift to both romance and comedy.
  15. The film is always watchable, and the confrontations contain undeniable edgy excitement. But even if this weren't a remake, it would be a remake. Hollywood filmmakers have fished these waters so thoroughly that it's virtually impossible to land a big catch.
  16. It's a cracking good detective yarn with hints of "Chinatown" and Raymond Chandler, and it's a sharp political lampoon of things we're all reading about on today's front pages.
  17. Herbie: Fully Loaded is, pure and simple, a children's film.
  18. The Game of Their Lives has a great sports story to tell, yet the filmmakers fumble it away.
    • 47 Metascore
    • 60 Critic Score
    Slasher-movie fans, however, need not be put off by the stylized camera work and arty patina: this is down and dirty genre filmmaking, and the various slaughters, excruciatingly detailed scalpings and other atrocities are no less gruesome because of the highfalutin approach.
  19. It's pretty silly stuff, leaving the film to rely on more conventional car chases, woman-in-peril scenarios and mistaken identity to keep things interesting -- all seen on that laptop via security cameras and the like.
  20. Wallace made a lot of shrewd decisions to sock this movie home, but he can’t entirely overcome the dramatic thinness of the original material.
  21. A lazy ending mars this fine, if generic, take on a much-loved YA novel.
    • 47 Metascore
    • 50 Critic Score
    You are not likely to see a better display of martial arts combat on screen for some time, even if you have to put up with some excruciating contrivances to get to it.
  22. Monogamy doesn't manage to find anything particularly new to say, and says it very, very slowly.
  23. Despite a neat narrative twist delivered during the end credits, Alien Abduction is ultimately a by-the-numbers enterprise that will please only the most undemanding audiences at midnight screenings.
  24. The colors are mostly gray tones with the sharp, disturbing animation that works well for a thriller. However, Metropia is weighed down by a convoluted plot.
    • 47 Metascore
    • 60 Critic Score
    Artistically uneven, emotionally strained but at times sullenly poetic depiction of a sexually confused love pentangle.
  25. Fanny is definitely a worthy companion to Marius, although it’s also more claustrophobic in terms of staging, confining the action to a handful of interior sequences that feel less like a movie than like filmed theater, albeit of a rather high order.
  26. An elegantly mounted ghost story that's steeped plenty of dank Louisiana atmosphere.

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