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. Utterly compelling account of a true-life criminal investigation where "truth" can never be pinned down.
  2. Do not expect blazing emotional fireworks, just finely calibrated performances and deep reserves of inner torment.
  3. An infectious blast of funky jazz played by a terrific cast and a director at the top of their respective games.
  4. The filmmakers were right to believe that a live-action version of this story would have failed to achieve the universality Persepolis does.
  5. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood.
  6. Lo Cascio and Boni inhabit their roles with keen intellectual and emotional vigor.
  7. The film is non-fiction storytelling of remarkable nuance.
    • 89 Metascore
    • 80 Critic Score
    Starts out dark and challenging then comes to a startlingly satisfying and warmly human conclusion that lingers long after the curtain has come down.
  8. A glorious new addition to martial-arts cinema.
    • 89 Metascore
    • 80 Critic Score
    Kore-eda listens to his characters' inner thoughts with the attentiveness of a piano tuner, and reveals them with the lightest inferences.
  9. The weapon wielded by Cohen and Charles is crudeness. People today, especially those in public life, can disguise prejudice in coded language and soft tones. Bigotry is ever so polite now. So the filmmakers mean to drag the beast out into the sunlight of brilliant satire and let everyone see the rotting, stinking, foul thing for what it is. When you laugh at something that is bad, it loses much of its power.
    • The Hollywood Reporter
  10. It's enriched by signature qualities – the humanistic, nonjudgmental gaze, the absence of sentimentality, the ultra-naturalistic style – that have always distinguished the Belgian brothers' fine body of work.
  11. The first two Max features ran barely 90 minutes and it takes guts and real confidence to dare push a straight chase film with very little dialogue to two hours. But Miller has pulled it off by coming up with innumerable new elements to keep the action compelling.
  12. It’s a lovely piece of work.
  13. An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace.
  14. National Gallery feels closer to a pure aesthetic investigation than an organizational exposé, and in that respect is reminiscent of recent Paris-set films like Crazy Horse or La Danse, mostly allowing the art to speak for itself.
  15. May not offer up any fresh revelations, but this effectively assembled documentary puts it all in valuable, if depressing, perspective.
  16. It’s an audacious concept, and Docter’s imagination, along with those of his numerous collaborators, is adventurous and genially daft enough to put it over.
    • 89 Metascore
    • 80 Critic Score
    It is both funny and sad, placid and provocative and, above all, hopeful and despairing.
  17. Intelligently written, vividly shot, tightly edited, sharply acted, the film represents a rare example of craftsmanship working to produce a deeply moving piece of history.
    • 89 Metascore
    • 70 Critic Score
    Not everyone will wax lyrical about this enigmatic and troubling film, which is also Chan-dong's most slow-moving one. But those with an eye for reading between the lines can find layers of meaning.
  18. Artist evinces unlimited love for the look and ethos of the 1920s as well for the style of the movies. The filmmakers clearly did their homework and took great pleasure in doing so, an enjoyment that is passed along in ample doses to any viewer game for their nifty little conceit.
  19. Not only (Kaufman's) most accessible and romantic screenplay, it's his most complete. The third act works like a charm and pulls all his themes, characters and conflicts together beautifully.
  20. Now Eastwood turns on a dime and tackles not just his first war movie but two war movies of considerable scope and complexity. If he doesn't nail everything perfectly, he nevertheless has created a vivid memorial to the courage on both sides of this battle and created an awareness in the public consciousness at a most opportune moment about how war feels to those lost in its fog.
  21. The film has enormous charm and zero pretense.
  22. My Golden Days more often privileges emotional truths over historical veracity. This helps not only to make the past dilemmas of the protagonists feel more immediate and real, but also suggests how, looking back, we see our lives as a succession of emotional experiences, not dry historical facts.
  23. Capote represents something unique in cinema.…Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author.
  24. Polished, funny and utterly charming.
  25. The antithesis of “let’s-put-on-a-show” fluff, Whiplash...is about the wages of all-out sacrifice and commitment.
  26. Hersonski enriches this evidence by bringing in survivors of the ghetto, who tell stories of life there while watching the film themselves.

Top Trailers