The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,831 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Youth
Lowest review score: 0 The Do-Over
Score distribution:
7831 movie reviews
  1. None of the other economic gurus of the era is interviewed, so the film comes across as a 90-minute monologue, which is intriguing to a point but also wearying.
  2. May not be for all tastes, but it's an up close and personal look at a true rock 'n' roll animal.
  3. This is an affectionate portrait rather than a meaningful critical analysis.
  4. Alexs Stadermann, directing from a script by Marcus Sauermann and Fin Edquist, keeps the story humming along genially, while the voice cast, also including Miriam Margoyles as the kindly Queen and Jacki Weaver as her conniving royal advisor, provides the spirited uplift.
  5. As executed by an appealing ensemble of smooth operators, this adaptation often hits its amusing marks, but with a weighty running time of two hours, it often feels more like a lecture than an intended romp.
  6. Complex but cold tale.
  7. Given a cast of this size, characterizations are predictably thin, though strong character actors like John C. McGinley and Michael Rooker ensure some viewer engagement with Those About to Die.
  8. Viewers will surely have their curiosity piqued, but may not walk out convinced of Jobriath's place in the pop Pantheon.
  9. More of a character-etched mood piece than a tautly calibrated caper, Dead Man Down benefits from potent visuals and a compelling international cast that also includes lead Colin Farrell, Terrence Howard and Isabelle Huppert.
  10. Good performances and a keen eye for period detail can't disguise the fact that not much is happening here story-wise.
  11. Though much of the drama is clunky and flat, the taut, visceral performances by David Oyelowo and Kate Mara never err.
  12. Amusing, but formulaic, romantic comedy.
  13. A meticulously rendered romantic drama, very well acted and featuring solid production values and location work that makes New York feel like one of the movie's characters. The only problem is the story is rather flat.
  14. The Commune effortlessly entertains at a TV sitcom level, with its pithy dialogue, its chorus of thinly drawn caricatures and its cozy sense of mockery towards the failed social experiments of past generations. But as serious cinema, it feels limited for the same reasons.
  15. Though their resolution is a little too neat to be believed, the filmmakers' way with their cast makes this debut a promising one.
  16. Although the pacing would have benefited from some judicious tightening, much of the film’s effectiveness is attributable to the lead actors’ well-modulated performances.
  17. This is a slick studio production with a huge movie star and top professionals occupying every production role so that the polish of this well-made film makes even homelessness look neat and tidy.
  18. One either likes this sort of thing or not. Even fans might not buy the ending in which more people get wiped out than in Hurricane Katrina.
  19. There’s so much to root for here it’s painful to concede there’s some hideously on-the-nose, spell-out-the-motivation-in-capital-letters writing that lowers the tone.
  20. Certainly their musicianship and onstage professionalism are smooth, though maybe a bit too smooth. There is little spontaneity in anything they do.
  21. The filmmaking is often splendid to behold, though not necessarily for two full hours, and Tran’s Gallic tone poem winds up suffering under the weight of its own aestheticism. It’s a beautiful flower arrangement in need of an adequate vase.
  22. All of these ingredients should come together in a mouth-watering finale, but such is not the case; in fact, the film becomes more obvious and less psychological as it goes on.
  23. While several of the dance sequences admittedly pack a visual pop, the added dimension does the hokey scripting and some of the acting no favors by amplifying their already noticeable shortcomings.
  24. The large cast, costumed and made up as filthy scalawags and sinister buccaneers, gives tremendous energy to every scene.
  25. The plot reversals of the third act happen rather abruptly, perhaps unbelievably, in comparison to what precedes them. But those who've been in Margaret's shoes may find this appropriate — an honest acknowledgement of the false starts that can result when a newly hatched idealist tries to apply abstract principles to messy human emotions.
  26. Not for the faint-hearted.
  27. Much of the bite and a good deal of the wit of the first two films are missing here. The rude send-up of beloved fairy tale conventions remains -- somewhat -- but these playful jabs no longer come as pleasing surprises. You expect them. And you expect better.
  28. 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.
  29. Endearing performances buoy predictable film about love in the wake of divorce.
  30. This is yet another hyper-competent, boyishly devil-may-care character that offers Cruise, famous for his derring-do on set, a chance to do his own stunts and fly a plane; it’s not a role all that far out of the ageing megastar’s wheelhouse.

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