The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,572 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 Gloria
Lowest review score: 0 The Impaler
Score distribution:
5,572 movie reviews
  1. Ironically, what the comedy lacks is the sly imagination and satirical underpinnings of the best sex comedies from that (Doris Day) era. Instead, exposition is poorly executed, genuine laughs come infrequently and you quickly lose confidence that the filmmakers even understand what their basic joke is.
  2. Assembling this vehicle for his young clients, music producer/manager/video director Christopher B. Stokes has attached an anemic plot to a series of dynamic hip-hop dance sequences.
  3. The romantic comedy, is the weakest of the trio. It stands as something of an interlude, detailing the paranoid obsessions of Cecile and her husband.
  4. Unfortunately, Love Object, which uncomfortably totters from psychological suspense to black comedy to pull-out-the-stops horror, never quite lives up to its bizarre premise, and despite its audacious subject matter, it will even have difficulty attaining future cult status.
  5. Ryan and the rest of the cast are forced to slug it out with the kind of trite dialogue that seems to have been lifted straight off of those corporate inspirational posters.
  6. Compounding the sense of predictability and deja vu is the presence of well-known TV actors portraying the sorts of characters they've perfected on the small screen.
  7. The latest example of a distressing wave of undistinguished theatrical versions of Saturday-morning kid shows.
  8. It's disappointing the film is so sketchy and underdeveloped. The filmmakers may have sold their story short.
  9. It's all Kovacs for 94 minutes. Which means the viewer experiences a perilous tug-of-war between annoyance at the extreme artificiality of the conceit and admiration of the gutsy performance by an actress who must, literally, carry the movie. Annoyance wins out, unfortunately.
  10. An unremarkable romantic comedy that gives short shrift to both romance and comedy.
  11. Tries to be too many things, none very convincingly: plea for tolerance, docu-style character study, old-fashioned weepie.
  12. In the depiction of this unlikely journey -- it is supposedly based on a real-life story -- the film awkwardly veers between naturalism and a striving for poetic myth.
  13. Nothing un-beguiles a fairy tale more than forced whimsy and labored magic, which is precisely what plagues Ella Enchanted.
  14. Unlike such similar efforts as "A Mighty Wind," this would-be satire isn't funny enough to be entertaining, nor is it clever enough to fool us.
  15. Veteran TV director Michael Lembeck slides the movie into a sitcom mode that only further deadens the thin material. While Vardalos and Collette shine in the musical numbers, why didn't he bother to give the musical sequences a bit of pizzazz?
  16. A tone-deaf muddle that shifts moods more often than its lone wolf vigilante rubs out bad guys, clocking in at a punishingly paced two hours and change.
  17. At roughly the halfway point, the movie turns into a low-budget gangster picture, which sacrifices character and themes to the kind of action mayhem all too commonplace in studio thrillers.
  18. A crass, clumsily constructed romantic comedy.
  19. What might have proved reasonably compelling onstage comes across as forced on film, with credibility taking a back seat to contrivance.
  20. Plenty of salient points to make in this satirical cautionary tale, there's still not enough to sustain the expanded running time.
  21. The finely observed moments in Stateside accumulate little emotional power. The promise of something startling and compelling goes unfulfilled, and the arc of the central love story isn't interesting enough to sustain the drama.
  22. Starts out as an exuberant romp but soon gets trapped in a holding pattern of dumb sex and toilet jokes.
  23. Not only doesn't provide any real information, it barely manages to convey why we should care. It represents a true squandering of a potentially fascinating subject.
  24. Mercilessly plodding pacing, problematic character motivations and a fundamental lack of chemistry between the two star-crossed lovers in question don't do a lot to help its cause.
  25. Unfortunately, Twohy has tried to turn the Riddick enterprise into a sprawling, Tolkien-powered epic, jamming the screen with too many historical parallels and a confusion of new characters.
  26. Unlike that widely appealing picture with the giant green ogre, this one's strictly for the kiddies.
  27. Any resemblance between Jules Verne's marvelous science fiction novel or Mike Todd's enjoyable 1956 movie is pure happenstance. This is simply a Jackie Chan movie pitched to youngsters who enjoy slapstick fights and goofy caricatures.
  28. It uses numerous hoary techniques -- including tabloid-television-style editing and ominous background music -- that tend to detract from the seriousness of the issues being addressed. Morgan Freeman delivers the portentous narration.
  29. Has the feel of a home movie of greater interest to its participants than to an audience.
  30. One of those infuriating comedies that practically nudges you in the ribs while you're watching to remind you how cute and funny it is.

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