The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,171 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 Kill Bill: Vol. 2
Lowest review score: 0 I Know Who Killed Me
Score distribution:
6,171 movie reviews
  1. The picture never successfully comes off the written page.
  2. Landing somewhere between a generational comedy and soap opera, the film is forgettable fun.
  3. As is often the case with directors who adapt their own life-histories, there's the sense that a little too close to his material.
  4. Although the visuals tantalize and the actors providing the voices add a lot of sass, the result is only so-so.
    • 50 Metascore
    • 50 Critic Score
    Might do good business at home and abroad among audiences unconcerned with the finer points of characterization or psychological insight.
  5. An odd little comedy drama set in Ireland that boasts more onscreen talent than it deserves.
  6. The story itself avoids the complicated structure of Matteo Garrone’s arty Gomorra, suggesting audiences will have an easier time digesting the tragedy of three brothers. But though it doesn't have Gomorra's comprehension problems, it also lacks that film's iconic cinematic imagery and seems ultimately far less memorable.
  7. Lacks the fresh charm that made their first such an unexpected (if guilty) pleasure.
  8. There's definitely a workable, reality TV-based angle at the core of Last Stop -- something along the lines of "No Reservations" but with scattered human remains instead of Anthony Bourdain.
  9. The film’s attempt at blending humor, poignancy and melodrama results in an awkward mish-mosh. But it has heart to spare, and the performances by the multi-generational ensemble are very effective, with particularly moving work by the veterans in the cast.
  10. Does possess some eccentric moments of high camp humor. But other than that, this low-concept slasher/horror film suffers from creaky direction, a tatty story line, and -- even worse, considering the genre -- a lack of suspense and shocks.
  11. Despite some evocative moments...the film is too elliptical and fragmented to have the desired impact. It ultimately leaves the viewer, much like its hero, in a state of dazed confusion.
  12. Ultimately lacks the textural depth and emotional precision that marks the work of obvious influences here like Robert Altman, but it does offer a pungent slice of contemporary Israeli life that should prove resonant for audiences interested in the social complexities of the region.
  13. The film lacks the juice promised by the teaming of such extraordinary filmmakers with a cast as large as a Hooverville encampment.
  14. The convoluted, cliché-ridden storyline, apparently inspired by the director’s father’s real-life experiences in the drug trade, is the least interesting element, while the brief, perfunctory action sequences no doubt reflect the low budget. But the film certainly looks and sounds good.
  15. Director Bao Nguyen doesn't try to dig too deep, leaving serious behind-the-scenes lore to the SNL obsessives who've been poring over backstage accounts for years. Focusing on talking heads, almost all of whom say nice things about their experience of the show, he offers a puffy remembrance just a couple of notches more substantive than the supplemental doc in a DVD box set.
  16. Although reasonably compelling to watch and featuring fine performances from its charismatic and attractive lead performers, it ultimately displays little reason for being other than to serve as a transatlantic cinematic calling card.
  17. A meticulously observed story about fathers and sons within the Argentine Jewish community...What the film desperately lacks, however, is any meaningful conflict. Thus, there is little story here.
  18. A heartfelt but dramatically flat portrait of a couple grappling with one tragedy whose lives are profoundly affected by the outcome of another.
  19. Mitra, clad in the requisite tight, sexy outfits, conveys a suitable toughness but little in the way of personality, while such distinguished British actors as Bob Hoskins and Adrian Lester dutifully show up to collect their paychecks.
  20. A couple of rather Dickensian supporting roles by Robbie Coltrane and Maximilian Schell fall embarrassingly flat as they are more creations of costumes and makeup than actual flesh-and-blood. But then the same can be said for the entire movie.
  21. Every bit as vulgar, sophomoric and thoroughly tasteless as 1999's Deuce Bigalow: Male Gigolo. But what is most annoying is the sequel's capability of inducing laughter even as one hates oneself for so easily succumbing to the total silliness of it all.
  22. Writers and directors Richard Glatzer and Wash Westmoreland have crafted a solid script... Holding the enterprise back, however, is a terribly restrained directorial approach and academic visual style that prevent the lubricious story from truly coming to life.
  23. Reliant on suspense rather than gore, this is functional middle-brow psychological horror and screenwriter Joe Croker finds plenty of tired haunted house tropes he’s happy to recycle in adapting material from Susan Hill’s original novel.
  24. Despite a neat narrative twist delivered during the end credits, Alien Abduction is ultimately a by-the-numbers enterprise that will please only the most undemanding audiences at midnight screenings.
  25. An ambitious, visually handsome production which fails to ignite.
  26. In The 5th Quarter, the filmmakers' hearts are in the right place but the execution couldn't be more wrong-headed.
  27. Things are too predictable. Perhaps the viewpoint is to blame.
  28. The story itself is silly and exaggerated.
  29. Ultimately, its success may depend on how emotionally satisfying audiences find this flirtation with Jewish mysticism.

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