The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,950 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Little Men
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
7950 movie reviews
  1. A fly-on-the-wall portrait that provides a vivid reminder that children around the world don't have it nearly as lucky as those in America, with the daunting, UNICEF-provided statistics delivered at the end hopefully inciting a spur to action.
  2. Insistent, sometimes conspicuously one-sided, the film's concerns are difficult to dismiss, considering that a water-starved planet isn't ultimately viable.
  3. This murky, thriller-tinged Western has the terrain down cold -- from the wide-open spaces to the rocky vistas -- but beneath all the requisite genre trappings there's a vast, empty gulch where the affecting dramatic element should have been found.
  4. Labine and Punch invest their performances with enough anarchic comic inventiveness and genuine chemistry to make their characters’ courtship and relationship issues funnily entertaining.
  5. When it isn’t trying too hard to be instructive or jokey, Tykwer’s film fluently conveys the hard truth of diminished relevance, geopolitical as well as personal. Hanks’ portrayal of a man caught between utter defeat and a yearning to begin again is pitch-perfect.
  6. A teen comedy that possesses a wickedly satirical streak.
  7. Diez's effects teams have tremendous fun with the gory ways they tear through their hosts' bodies when it's time to leave the chrysalis behind.
    • 63 Metascore
    • 60 Critic Score
    Love Crime has Hitchcockian pretentious, with perhaps a touch of film noir, but the "love" component is perfunctorily done and the "crime" pay-off is unconvincing (despite the twist in the tail). The Master would not have allowed the suspense to dissipate so wantonly.
    • 64 Metascore
    • 60 Critic Score
    An adulatory documentary that could well have been titled "Ode to Kushner." As good-looking and well-crafted as it is -- cinematographers Eddie Marritz and Don Lenzer, who were on board for Mock's "Maya Lin," as well as Bestor Cram provide the rich visuals -- the film suffers from a crucial lack of perspective.
  8. Nine Muses is clearly the work of a talented filmmaker, and there are many moments to beguile the ears as well as the eyes. Yet it's a long slog through a few thousand years of myth and history, and most viewers are likely to grow impatient during the journey.
    • 57 Metascore
    • 60 Critic Score
    Not the freshest heist movie ever made, Flawless still has a few pleasures to offer, thanks to a well-studied social and political background and to Michael Caine's lovely creation.
    • 36 Metascore
    • 60 Critic Score
    Dwayne Johnson's energetic performance enlivens an otherwise by-the-numbers family comedy.
  9. Packed high with explosive action and loaded with high-stakes jeopardy, Con Air charts a generally sound narrative course, although it hits some story turbulence before it hits its climactic jackpot.
  10. Drew Stone's Who the F**ck is That Guy shows how total, unabashed music fandom took a nobody from New York City's far reaches to the heart of the music business.
  11. The laugher about a meek middle manager who finds a life-changing fortune takes a while to hit its stride, but in its best stretches, it offers deliriously spirited farce.
  12. You may come away more impressed by the intentions than by the achievements.
  13. Turns out to be something like a comic riff on "Training Day." Leaning more toward Hart's brand of slightly raunchy humor rather than Ice Cube's equally popular family-friendly fare, the PG-13 film exhibits broad appeal.
  14. A penchant for suffocating close-ups and an overabundance of scenes that go on far too long mar Abdellatif Kechiche's The Secret of the Grain, an otherwise engaging drama about an immigrant Arab family in France.
  15. Although it sketchily touches on many provocative issues -- the inhumanity of this form of incarceration, the relationship between the artist and subject -- Herman’s House fails to explore them in a fully satisfying manner.
  16. As a thriller, The Debt performs many if not all the right moves. Where the John Madden-directed film gets into trouble is in wanting to deal with the Holocaust without being entirely a period film.
  17. Offers a litany of images and sound bites that are all too disturbing. Although Ever Again lacks the dramatic focus that would make it truly distinctive, it offers a timely wake-up call that should be well heeded.
  18. More pictorially arresting than intellectually coherent.
  19. Whatever nuance can be found in Front Cover, the story of an openly gay fashion stylist and a seemingly homophobic Chinese movie star, belongs chiefly to the performances of Jake Choi and James Chen.
  20. A giddy romp that never takes itself seriously in the slightest, and that makes Taipei look like the center of the gay universe.
  21. A cut above the usual level of slasher films, with its overly convoluted plot enhanced by an impressive level of cinematic style. It also places a greater emphasis on surprising plot twists than gore.
  22. Jarhead refuses to engage in its own point of view toward events it depicts. So the film feels empty and tentative, uncertain of what if anything these events add up to.
  23. Tautly orchestrated within its single setting and photographed and edited for maximum shock value, The Damned never really rises above its standard conventions. But its fast pacing and sheer air of conviction make it a better than average example of its overworked genre.
  24. Although Gregorini is very clear on where her lead characters are coming from, it’s where they’re headed that remains entirely vague, an oversight that leaves them unfortunately adrift.
  25. It feels like a sermon delivered by an extremely cine-literate preacher.
  26. Jennifer Lopez carries this thin concept about as far and as well as she can, with Alex O'Loughlin in his first leading-man outing managing not to get lost in the shuffle.

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