The Hollywood Reporter's Scores

  • Movies
  • TV
For 4,942 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Black Friday
Lowest review score: 0 What Love Is
Score distribution:
4,942 movie reviews
  1. Strictly for the Beliebers.
  2. The film, written (with Steven Rogers) and directed by Richard LaGravenese, is long and drags in places. But the chief problem is that "P.S." feels like a gimmick.
  3. The picture's quiet performances and occasionally surprising moments take it just far enough off the beaten path to make it more than a transparently formulaic feel-good story.
  4. It relies too heavily on shock value rather than solid facts.
  5. An awkward blend of live action and animation.
  6. A cut above the usual level of slasher films, with its overly convoluted plot enhanced by an impressive level of cinematic style. It also places a greater emphasis on surprising plot twists than gore.
  7. Homefront is sufficiently silly and low-down to be entertaining on a certain marginal level, but it wouldn't appear that those involved, with the possible exception of Franco, approached this with the idea that they might be making good trash; it looks too elaborate and costly for that and the script exhibits no self-aware humor.
  8. A perky though not terribly imaginative feature aimed primarily at youngsters.
    • 39 Metascore
    • 40 Critic Score
    Another among this year's crop of features that demonstrates that having a cast with indie cred can sometimes do little to buoy a film's miscalculated execution.
  9. More aggressively violent and thankfully less mythology driven than previous installments, Underworld: Awakening is strictly for the converted.
  10. While visually engaging, this production of Disneytoon Studios -- it was originally slated to go direct-to-DVD -- lacks the sort of character depth and dramatic scope normally associated with the Pixar brand.
  11. Features sitcom-style stock characters and situations, not to mention the sort of ethnic stereotypes to be found in TV ads for fast-food Mexican restaurant chains.
  12. Embalming the simple and simplistic yarn in an amber glow that is all but suffocating and banishing from it any traces of humor and spontaneity, director Scott Hicks serves up this treacly tale with absolutely no trace of self-consciousness about the material's cliches or simple-mindedness.
  13. A surprisingly effective debut effort from writer-director Robert Kirbyson.
  14. The heist itself is almost dull, and the characters aren't half as colorful or interesting as they need to be.
  15. A frequently charming, if ultimately slight, coming-of-age tale.
    • 38 Metascore
    • 80 Critic Score
    In the film's most flamboyant role, Peter Sarsgaard's devil-ish charisma and cold bluster is frightening.
  16. Though the intended hilarity is forced and flat, there's a sweetness to the silliness.
  17. This particular reconceptualization actually does an impressive job of capturing the nasty dread of the original. It certainly is a vast improvement over those previous remakes/sequels.
  18. Clearly, much care and intelligence have been lavished on discouraging, routine material.
  19. Unfortunately, Twohy has tried to turn the Riddick enterprise into a sprawling, Tolkien-powered epic, jamming the screen with too many historical parallels and a confusion of new characters.
  20. The latest example of J-horror to reach our shores, Takeshi Furusawa's Ghost Train demonstrates that the increasingly tired genre may be in need of a serious overhaul.
  21. Cast and crew's investment in the story's tragedy and its ensuing moral debates is evident in every frame, but the film isn't fully successful in generating the same depth of feeling in viewers.
  22. The Old West is portrayed as a venal loony bin in Sweetwater, a handsomely designed, occasionally funny but ultimately empty female vengeance yarn.
    • 38 Metascore
    • 50 Critic Score
    The plot development of Flash Point is purely utilitarian, like a shuttle bus that transports stock characters from one action set to another.
  23. There is little complexity in the social, cultural or political shape of this world. So this film, directed by visual effects master Stefen Fangmeier and written by Peter Buchman in a straightforward manner, cannot escape the rote nature of such a fantasy.
  24. Sets out to be a baby "Big Chill" but plays out like an unsold Fox pilot.
  25. However masterful, the first-rate stunt work, effects, action cinematography and cutting (by no less than three editors) lose impact through sheer repetition.
  26. Solomon crafts a quality horror piece from strong performances and effects. The chief disappointment of An American Haunting is that it doesn't exploit more opportunities for the sublime subtlety of performances by Sissy Spacek and, especially, Donald Sutherland.
  27. The good news is that Christopher Walken, resplendent in purple silk, isn't the film's sole redeeming element. The bad news is that even his arch-villain can't save Balls of Fury from losing bounce as the story proceeds.

Top Trailers