The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,592 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Cinderella Man
Lowest review score: 0 Your Highness
Score distribution:
7592 movie reviews
  1. The unapologetically derivative sci-fi outing doesn’t have the scripting muscle to deliver on its early promise. But the solid cast keeps it reasonably gripping nonetheless.
  2. Where the film falters is Jonze and novelist Dave Eggers' adaptation, which fails to invest this world with strong emotions.
  3. Three Times offers a careful examination of the changing ways people have reacted to each other during the past 100 years. As such, it's an interesting essay but certainly a minor work from a master.
  4. As a document of the American political process, Caucus offers an intriguing if limited snapshot of a specific campaign season, but lacks either breadth or depth.
  5. Style takes precedence over content in this fourth installment of Strand Releasing's popular series of gay-themed short-film compilations.
  6. The pic works best when it's least self-referential, focusing on romantic attractions in many stages of development. Though it won't do for its authors what Swingers and Good Will Hunting did for theirs, Loitering is smartly written enough to further their off-camera careers; thanks to predictably winning performances from Marisa Tomei and Sam Rockwell.
  7. Schumer and Hawn know what funny looks and sounds like, and they lend their dialogue and gags — no matter how tepid — enough snap and personality to distract you, at least some of the time, from the utter laziness of the material.
    • 49 Metascore
    • 60 Critic Score
    Visually gorgeous to a fault and teeming with grandiose if often fascinating ideas that overwhelm the modest story that serves as their vehicle, this may be the least artistically successful film von Trier has ever made.
  8. A smart psychological thriller with the one fatal flaw that Slavic women in Italian television and cinema must be dark, tormented characters who hardly ever smile. In a criminal caper with a twist, this actually works against the story.
  9. Strauss-Schulson brings an appropriately wacky comedic style to The Final Girls. Co-writers M.A. Fortin and Joshua John Miller have shamelessly raided the horror-movie canon, efficiently repurposing familiar references to amusing effect, without neglecting nods to Friday the 13th, A Nightmare on Elm Street and similar fare.
  10. Snowboarders are given their Dew in this nicely shot but lengthy exercise in corporate branding.
  11. Mild vulgarity and discreet nudity garner the sought-after R rating, but this effort feels forced. The real "bad" here is the sheer formulaic nature of everything. There are no surprises but for once you don't much mind.
  12. Affleck gets the tribalism of Boston's traditionally Irish-American enclaves; it's a defining force in his character's lives. But for all their well-played grit, those characters resolutely remain types, and for all the well-choreographed action, the outcome doesn't matter nearly as much as it should.
  13. Episodic in its storytelling, the film never really achieves any true narrative momentum. But individual scenes do register strongly.
  14. The wild card in all this remains Seann William Scott's Steve Stifler, the rampaging id whose indignation at his peers' maturity provides most of the film's real laughs.
  15. Despite the occasional jolts, Phantom of the Theatre is not particularly scary. But as befitting its milieu, it looks fabulous.
  16. That the movie holds viewers' attention despite its contrivances is a testament to the script and acting.
  17. Despite its careful control of tone and a raging central performance by Ciaran Hinds, which is actually sufficient reason to see the film, this story of a man who plunges into childhood memories in the aftermath of his wife’s death remains admirable but wingless.
  18. Pantoliano brings his usual degree of wily, understated humor to his role and is ably supported by the terrific ensemble, but he's unable to elevate a film that is ultimately as directionless as its protagonist.
  19. For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.
  20. Stylish and well-observed while ultimately not adding up to very much.
  21. The cast's likability keeps us on board, watching the sometimes baffling behavior onscreen just like those on the streets of Seoul, who gape up at a monster in horror but can't make themselves flee to the suburbs.
  22. The characters and settings are attractively designed, and the vocal performances have real color and a sense of fun that gently undercuts the treacly sincerity of certain obligatory kid-pandering moments.
    • 47 Metascore
    • 60 Critic Score
    Artistically uneven, emotionally strained but at times sullenly poetic depiction of a sexually confused love pentangle.
  23. Doesn't depart from the inspirational coming-of-age formula. But it has got enough heart and disco-fever exuberance to connect with audiences.
  24. With such an elliptical tease of a plot, which jumps back and forth temporally disdaining explication, some may feel a little of this travelogue goes a long way.
  25. Coppola’s attitude toward her subject seems equivocal, uncertain; there is perhaps a smidgen of social commentary, but she seems far too at home in the world she depicts to offer a rewarding critique of it.
    • 56 Metascore
    • 60 Critic Score
    A fanciful wisp of a film that feels slight at times. It's based on the slender novella "Pobby and Dingan," by Ben Rice, who also co-wrote the screenplay. Yet it winds up making some keen observations on the power of imagination.
  26. It's too loose and casual, all too willing to trade the writer's trademark wit and literary mischief for slapstick comedy.
  27. The film does achieve moments of catharsis, but it can be heavy going.

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