The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,873 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:
5,873 movie reviews
    • 49 Metascore
    • 50 Critic Score
    A fair-to-middling little date movie.
  1. Richard Shepard’s film is far from dull, but it just doesn’t feel like the real thing, more like an artificial construct inspired by pumped-up crime favorites from a couple of decades ago.
  2. Never really decides whether it wants to concentrate on providing information or sociological analysis, with the result that it fails to fully satisfy on either level.
  3. 42
    Pretty when it should be gritty and grandiosely noble instead of just telling it like it was, 42 needlessly trumps up but still can't entirely spoil one of the great American 20th century true-life stories, the breaking of major league baseball's color line by Jackie Robinson.
  4. Its observations seem more suited to the op-ed pages of a magazine than the big screen.
  5. Alan Rickman's lead performance highlights a sincere but insubstantial rock pic.
  6. Amid the would-be and actual laughs, the screenplay tries to drum up drama, but every disagreement and tension is treated superficially and summarily resolved.
  7. The actors' raw honesty and the unvarnished authenticity of the Southeast Texas environment lend weight to this slow-burn drama about responsibility, even if its storytelling is unrelentingly downbeat and lacks muscularity.
  8. Strong performances by Lily Rabe and LisaGay Hamilton aren’t quite enough to redeem Redemption Trail.
  9. McConaughey and Parker get stranded with thanklessly predictable scenes, while Zooey Deschanel, Kathy Bates and Terry Bradshaw garner the film's few laughs.
  10. The film never ventures, even once, into a situation that does not reek of comfy familiarity.
  11. Sifting the pieces of a broken lesbian relationship, the slender, seemingly autobiographical film has its share of neurotic charms and funny one-liners, but it’s too tentative about digging into its identity conflicts -- sexual or cultural.
  12. Staggeringly cornball and squeaky-clean even when flirting with such issues as interracial sexual rivalries.
  13. Although the movie was clearly made on the cheap, cinematography, sets and costumes belie the modest budget. No one will be thunderstruck by the insights buried in "Valentine's Day," but couples seeking romantic fluff probably will find just enough humor and heart to satisfy them.
  14. Beyond a few chuckle-worthy one-liners and some amusing visual comedy, there’s not much to engage adults, although the wee ones should be distracted enough.
    • 49 Metascore
    • 50 Critic Score
    Australia makes a modest contribution to the growing sub-genre of everyman superhero movies with Griff the Invisible, a sweet but scattershot debut from local TV actor Leon Ford.
  15. The cast's evident delight might be enough for some moviegoers, but with so much talent and so little modulation on offer, audiences subjected to the onslaught could reasonably expect a higher laughs-to-torture ratio.
  16. The film's failure to raise the temperature gradually leaves viewers less involved than we should be.
  17. Part concert film, part narrative, it isn't fully successful on either level, coming across more like an overlong DVD extra than a fully stand-alone work.
  18. Never achieves the propulsive traction and outrageous/endearing balance that made "The Hangover" such a smash this time last year.
  19. As convincing as the manipulated footage of the President's death in Chicago in October 2007 is, the movie itself cannot be more unconvincing in its approach.
  20. Glorious so-bad-it's-good entertainment.
  21. Very much a lesson, and a repetitive and uneven one at that, GhettoPhysics succeeds at least as a conversation starter.
  22. This seventh installment does at least provide a reasonably satisfying conclusion to the series in the unlikely event they choose to give it a rest.
    • 74 Metascore
    • 50 Critic Score
    The film ends up relying on stating a basic situation over and over rather than developing any sort of dramatic story concerning recognizable human beings, at least until things get moving a little faster in its second hour.
    • 49 Metascore
    • 50 Critic Score
    What captures the audience's attention is Ardent's mesmerizing performance.
  23. Beautiful to look at, this is nothing more than a Little Engine That Could story refitted to accommodate aerial action and therefore unlikely to engage the active interest of anyone above the age of about 8, or 10 at the most.
  24. Diehard fashionistas will likely want to see it, but few others will take notice.
  25. While Downtown Express suffers from a derivative storyline, it offers enough musical authenticity to provide ample compensations.
  26. The film suffers from uneven acting, an over-reliance on production values and an uncertainty over how dangerous the children's adventures should be.

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