The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,411 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Phoenix
Lowest review score: 0 Material Girls
Score distribution:
6411 movie reviews
  1. Remaking eccentric English comedies is seldom a good idea, especially the ones from Ealing Studios with all those wonderful character actors. But against all odds, the new version of St. Trinian's almost pulls it off.
  2. Despite the solid work of cast and crew, the film dawdles and fails to justify its two-and-a-half-hour running time. Midnight reaches its tender conclusion without ever achieving the emotional or dramatic heft that such an epic tale requires.
  3. This attractive cast may help get an audience, but they will surely puzzle over such a downward-spiraling story that lacks inner logic.
  4. The Pact demonstrates both why people respond to horror and why it's so routinely scorned.
  5. 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.
  6. It attempts to walk the fine line between despair and comedy, reality and imagination, and often succeeds. For audiences prepared to take the leap of faith and accept the unusual tone of the film, Game 6 should be a winner. Others may wonder what the fuss is about.
  7. Proves too anticlimactic for the audience to maintain interest.
  8. The film does not stand up to the current crop of music/concert films like "U2 3D," which brilliantly uses 3-D to show the Irish band in concert so as to encapsulate its relationship to its fans, each other and their own music, and "CSNY: Deja Vu," which hones in on the political connection Crosby, Stills, Nash and Young have to their music.
  9. It ultimately lacks the singularity to make it stand out among the glut of similarly themed entries.
  10. Predictable, cutesy and nowhere near hot-blooded enough.
  11. Features a profusion of provocative ideas and a wealth of vintage film clips but is unable to avoid having the inevitable feel of a college thesis.
  12. A fascinating historical tale is rendered with less than compelling results in this pseudo-documentary.
  13. It’s not bad, but it’s ineffectual -- shuffling from one semi-satirical vignette to the next and then veering into soul-searching territory while generating only mild engagement.
  14. A peculiar and frustrating portrait of a man coping with chronic illness by indulging in carnal and intellectual pleasures, Angela Christlieb's Naked Opera presents itself as a documentary but is unconcerned with answering even the most basic questions viewers will have about its subject.
  15. As easy on the eyes and ears as it is embalmed from any dramatic point of view.
  16. The movie addresses timely issues but eschews shading in favor of blunt black and white. It's old-school Lifetime fodder dressed up in Hollywood trappings.
  17. The most un-Disneylike cartoon yet from Disney animation. The thing is a hellzapoppin' of eccentric characters, zany situations and wacky gizmos, but little effort has gone into making any of this connect with an audience.
  18. It's all a bit bizarre. One soldier tellingly calls it "one big reality TV show," and the movie never makes clear whether such training does any good.
  19. The scares are as hit-or-miss as the filmmaking in the second installment of the “VHS” found-footage horror anthology series.
  20. A wheel-spinner. The more the film stresses and strains to be funny, the unfunnier it gets.
  21. Barring a Terry Zwigoff return to "Bad Santa" territory, it's hard to imagine a filmmaker embracing this dubious hero to the extent writer-director Jody Hill does.
  22. Despite some interesting ideas, Cool It's conventional camerawork and unexceptional editing don't contribute much additional value to a package that's unlikely to alter Lomborg's outsider status.
  23. Can't decide what it wants to be when it grows up.
  24. A supernatural action comedy that can never live up to its exciting opening scenes, Don Coscarelli's John Dies at the End mixes horror-tinged mayhem with smart-alec laughs but loses momentum early and gets bogged down in exposition.
  25. First conceived as a documentary, this debut feature from Geoffrey Enthoven betrays its origins via its naturalistic, raw style and occasionally suffers from aimlessness and poor pacing.
  26. Never quite achieves the balance of melodrama and dark comedy for which it's aiming.
  27. A pedestrian chronicle of an eventful true story.
  28. Jig
    The film's inability to illuminate the finer points of the rigid form, to define what separates the great from the good, proves frustrating for the outsider.
  29. Director-screenwriter Kuryla displays some talent and an audaciously daring sensibility but ultimately fails to display the assured cinematic style that would make the unsavory proceedings more palatable.
  30. For every emotionally resonant scene, there's another that seems to drag on pointlessly, although the filmmaker once again displays a talent for delineating the emotional tensions that develop when disparate characters are thrown together.

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