The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,590 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% 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 Leviathan
Lowest review score: 0 The Impaler
Score distribution:
5,590 movie reviews
  1. Noisy, standard-issue cop actioner.
  2. A highly awkward blending of gay porn and political satire, this latest effort from cinematic provocateur Bruce LaBruce ("Hustler White," "Skin Flick") is the sort of film John Waters would make if he were more political, less funny and completely willing to shed all aspirations of mainstream respectability.
  3. For all its aesthetic deficiencies and self-promotional aspects, it at least provides a valuable and important message.
  4. There's nothing new under the sun, but About Alex is very, very not new. Luckily, most of its capable cast muster the warmth we require, and Zwick's script offers more humor (however mild the laughs are) than sentimentality.
  5. In a way, the film ultimately gets snagged in its own contraption.
  6. Certainly their musicianship and onstage professionalism are smooth, though maybe a bit too smooth. There is little spontaneity in anything they do.
  7. Audiences expecting a good time will instead be rewarded with wildly unsympathetic lead characters and uncomfortably long stretches without a laugh in sight.
    • 45 Metascore
    • 70 Critic Score
    Rather than being self-indulgent or pretentious, however, the film comes up with many believable details and changes in direction that enrich the bittersweet central relationship of the two leads.
  8. Chasing Mavericks manages to sufficiently overcome the obstacles with admittedly affecting results.
  9. With its splashy paintbox palette and jaunty pop soundtrack, All Cheerleaders Die just about hangs together as a cheerfully goofy romp.
  10. The Bronze is a strident comedy made in accordance with the sole guiding principle of, when in doubt, go even more vulgar.
    • 44 Metascore
    • 50 Critic Score
    Enjoyable but as familiar as the old-school routines its magician heroes dish out.
  11. Though it lacks the specific argumentative point of view that might have carried it into the mainstream, its sympathetic approach to subjects offers a compelling human perspective on questions that get too little attention in debates about health care.
  12. A heartfelt but dramatically flat portrait of a couple grappling with one tragedy whose lives are profoundly affected by the outcome of another.
  13. Mildly engaging but never entirely convincing.
  14. The result is a pleasingly discursive film that depicts Klimt and the ideals and locales of fin de siecle Vienna.
  15. The proceedings have a certain haunted quality, thanks to the dramatic setting and the stark black-and-white cinematography by Steve Cosens that fully conveys its bleakness.
  16. If viewers have any remaining doubts as to whether or not the dams are a good idea, the gorgeous shots of the threatened landscapes are bound to erase them.
  17. This stupefying dull mockumentary purports to explore themes of media manipulation and political propaganda, but whatever points it’s attempting to make are buried amidst the ponderous goings-on that will result in a quick exit from theaters.
  18. The film is elevated by the quality of the performances, with Breslin and Henley movingly affecting as the closely bound sisters and Sorvino convincingly conveying her character’s inability to function.
  19. Pretty in a decaying-opulence sort of way and well cast, the film is more superficial than its nods to highbrow culture would suggest.
  20. Postman Pat: The Movie is a mostly charmless and dark affair.
  21. One hell of a date movie. A surgical examination of the male psyche based on David Foster Wallace's book and written and directed by John Krasinski, there is plenty of food for thought and argument.
  22. An inert and muddled mash-up of romantic comedy and theater of stupid cruelty.
  23. A miscast James Franco and a lack of charm and humor doom Sam Raimi's prequel to the 1939 Hollywood classic. Oz the Wimpy and Weak would be more like it.
  24. Staggeringly cornball and squeaky-clean even when flirting with such issues as interracial sexual rivalries.
  25. In its third time out of the gate, Rush Hour 3, reuniting Chris Tucker and Jackie Chan, hits the ground stalling.
  26. Stocking the supporting cast with top-drawer talent, he gives most of his costars little to do besides attract our attention on movie posters.
  27. Tells a fascinatingly lurid tale.
  28. Recognizable human behavior is not this film’s forte -- which wouldn’t be a problem if something else would take its place but Punch never finds the right tone for the heterogeneous material, with sweetly melodramatic scenes alternating with high drama, some light action and farce.

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