The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,870 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 Brooklyn
Lowest review score: 0 Movie 43
Score distribution:
5,870 movie reviews
  1. Shades of "Like Water for Chocolate" and "Chocolat" -- but unlike the latter's tender Juliette Binoche-Johnny Depp romance, the ordained Rai-McDermott union fails to generate any convincing heat, and no amount of cardamom pods or lotus root is going to help.
  2. It was a given that this meeting of two iconoclastic directors would yield something far more unfettered and instinctive than conventional bio-drama. But the result borders on incoherence, providing few startling insights for aficionados and minimal illumination for the uninitiated.
  3. Shamelessly contrived in the manner of most jukebox musicals, and more than a wee bit precious, the movie has little use for emotional shadings as it flogs its feel-good charms.
  4. Too narrowly focused.
    • 69 Metascore
    • 50 Critic Score
    Martial-arts lovers may find it too arty, and art-film lovers, Wong's international fan base, may find it too generic and too violent.
  5. Depending on your age and memory, you’ll recognize cinematic DNA from everything from "Three Days of the Condor" to the "Taken" and "Bourne" franchises in this tale of a father and daughter on the run from an evil conspiracy.
  6. It never hits any erotic sparks, and the aftermath is distinctly anticlimactic. Breakfast is handsomely shot; the settings are minimalist but well chosen. An old, rather questionable maxim says that sex sells. Not in this wan rendition.
  7. A constant low-boil of ridiculousness both mocks and sustains Non-Stop, a jerry-rigged terror-on-a-plane thriller with a premise so far-fetched as to create a degree of suspense over how the writers will wriggle out of the knot of their own making.
  8. Amusing but not as funny or suspenseful as it could be.
  9. Vuorensola's sci-fi comedy is uneven, its humor never quite matching the luster of its visuals.
  10. A splendid idea for a film goes largely wasted despite a brave performance by Naomi Watts as a struggling actress trying to figure it all out in Hollywood.
  11. Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.
  12. While all the interview subjects are enthusiastic, the overall lack of familiarity with Rodriquez's personal background and career collapse begin to drag.
  13. Ultimately adds up to less than the sum of its parts. But it possesses a visual power, as well as a lingering resonance, that gives it a certain distinction.
  14. While the film, directed by Hany Abu-Assad, provides a vivid portrait of the landscape, its dramatic aspects are less impressive, with the contrived plot and paper-thin characterizations basically serving to provide a framework for its impressionistic portrait.
  15. The film should please his (Sokurov's) fans even while proving a frustrating, tedious experience for most art house audiences.
  16. An exercise in opaque supernatural storytelling that's as frustrating as it is beguiling.
  17. Dramatically but unevenly explores the lives of four Palestinian women during the years of the Palestinian-Israeli conflict.
  18. The best two performances belong to Uma Thurman and Will Ferrell. For the film to work, though, the two best roles should belong to Tony-winning Nathan Lane and Matthew Broderick in the title roles.
  19. Whether they’re filing ridiculous complaints about each other to the unflappable mayor (Michel Blanc), arguing over the proper presentation of ingredients or sharing a cafe table, Mirren and Puri bring an effortless command to their roles.
  20. Malick's most distinctive ambition here is his attempt to create an almost pointilistic portrait of a man by evoking acute moments of his past and present, and this sustains real interest for a while, as you wait to see how it all might come together. But as the film just keeps offering more of the doesn't build or pay off with what it seems designed to do, which is to provide either a dramatic or philosophical apotheosis.
  21. Furiously crossing and double-crossing, the two main story lines never quite fuse or comment on each other.
  22. It's historically accurate, since Electric Slide is set in 1983, but it only emphasizes the hollow emptiness of this faux New Wave-style crime drama that emphasizes style over substance to an enervating degree.
  23. Though the intended hilarity is forced and flat, there's a sweetness to the silliness.
  24. Formulaic and often hard to swallow, the picture offers little beyond the familiar pleasures of Duvall's old-coot mode.
  25. One's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.
  26. The Judge is well served by intense performances from stars Robert Downey Jr. and Robert Duvall, but is undercut by obvious note-hitting in the writing and a deliberate pace that drags things out about twenty minutes past their due date.
  27. The film, both in scope and tone, has a downsized vibe that would have made it a much better fit on an ABC Family than in a movie theater.
  28. The widely heralded musical auteur deserves a more insightful documentary treatment than the one afforded in Strange Powers: Stephin Merritt and the Magnetic Fields.
  29. An unstable mix of a tearjerker, junkie-recovery story and odd-couple pairing. The film marks the American debut of Danish filmmaker Susanne Bier, whose European films show a strong affinity for stories of human frailties and of families unraveling.

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