The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,705 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Curious Case of Benjamin Button
Lowest review score: 0 Beyond Honor
Score distribution:
7705 movie reviews
  1. An earnest drama about spiritual redemption that is likely to strike quite a chord with certain audiences.
  2. A committed piece of agit-prop, which benefits from the passion of its protagonists. Followers of the band will need no introduction to the subject matter, which is referenced in their musical repertoire. The film also should play well with those interested in liberal causes.
  3. The filmmaker clearly has a gift for incisive characterizations and dialogue, but the overall impact of the vignettes is muted by an overall artificiality.
  4. Fast-paced and episodic, the film at times provides such a torrent of information that it becomes more wearisome than enlightening.
  5. It’s perhaps too focused on the Reichsfuhrer’s personal life... while the director’s decision to add sound effects to silent images sometimes feels uncalled for.
  6. The Disneyesque adage is unfortunately all too typical of A Ballerina's Tale, which, other than adding to the pop culture barrage that has accompanied this gifted dancer's rise to stardom, does little to provide insight into her unique story.
  7. There is a darkness in all these “average” characters, underlined by low-key acting and the film’s sinisterly calm, measured pace.
  8. This murky, thriller-tinged Western has the terrain down cold -- from the wide-open spaces to the rocky vistas -- but beneath all the requisite genre trappings there's a vast, empty gulch where the affecting dramatic element should have been found.
  9. The sad result is a karaoke nightmare. Loud and pointlessly crude, the film takes the disintegration of a dysfunctional working-class family and gives it the song-and-dance treatment.
  10. A coming-of-middle-age comedy running on somewhat less than a full tank, Liberal Arts possesses enough comedic moments to approach crowd-pleasing status.
  11. While it can be labeled a thriller or a murder mystery, the film is talky, unhurried, contains little action and shows more interest in how characters think and behave than in its plot.
  12. An admirable idea in theory proves to be a real slog to sit through in Everyday.
  13. Hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors.
  14. Baby Boom serves up plenty of smart, knowing laughs early on, but by the time it hits the third act (or would that be trimester?), it barely crawls to the finish line.
  15. Eli Roth turns to modern-day Asian fright filmmakers as inspiration for his latest blood-soaked effort while demonstrating an intriguing, original voice of his own.
  16. The film is focused enough on relationships not to sound preachy.
  17. Despite its intriguing premise, the movie is a disappointing misfire.
  18. The shtick sticks in The Mind's Eye, which lovingly apes period details, this time with psychokinetic warriors instead of alien invaders. But where the first film was dour, this one works so hard at its ultra-grave air of menace that it eventually turns (intentionally, one hopes) comic, building to third-act violence that will leave the right kind of audience howling with delight.
  19. Terrence Howard delivers another solid lead performance and competition swimming is a new arena for such films. Nonetheless, Pride is just plain trite.
  20. The film will frustrate viewers who insist on knowing which interviewees are recounting real experiences and which are perpetuating fictions hatched by the game's creator, Jeff Hull. But mystery is part of the appeal.
    • 55 Metascore
    • 70 Critic Score
    If imitation is the sincerest form of flattery, David Cronenberg should be feeling pretty chuffed with son Brandon’s big-screen debut, a petri dish of high-concept perversity and cultural commentary teeming with lo-fi ickiness.
  21. The dark and sometimes funny The D Train is a feel-bad comedy, in that one feels bad for what happens to every character in the film and bad for sometimes being taken to places that feel more implausible than just transgressive.
  22. In outline, the story is pretty funny, and the film's outlandish takes on sports-movie conventions deliver some laughs. But Thurber chooses the low road to those laughs so often that he undermines his own satirical design. His actors certainly deliver amusing, spirited performances, but again, they get done in by relentless adolescent humor.
  23. What could have been a biting black comedy taking product placement to the logical extreme instead is so obviously predictable that even a savvy cast led by David Duchovny and Demi Moore can't sell it.
  24. Director Tim Johnson (DreamWorks’ Antz) and writing team of Tom J. Astle and Matt Ember (Epic), keep the momentum humming and the amusing bits reasonably entertaining, but they can’t vanquish the prevailing feeling of deja vu, and that the Boov are merely Minions of a different hue.
  25. An entertaining mess. It blends together musical styles and dances, historical periods with howling anachronisms, coy, almost childish gimmicks with R-rated sex and violence.
  26. Unfortunately, after its fine start, this brainy slice of provocative speculative fiction slowly but surely loosens its grip on audience involvement rather than increasing it.
  27. Green has chosen for his focus to fall on Enrique, in many ways the least interesting character in his story, rather than the son or even the mother who is surprisingly protective and understanding.
  28. Director Patricia Riggen finds a rigorous and affecting visual language for The 33, but she and her international cast are hampered by a screenplay that too often gets in the way of a powerful story.
  29. No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.

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