The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,067 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Joshua
Lowest review score: 0 Exists
Score distribution:
8067 movie reviews
  1. Whereas Peckinpah managed not only to raise hackles but to get under the skin, Lurie manages only the former, which reduces the material to the level of sensation-mongering.
  2. Disquieting and unforgettable, like a good ghost story, this is a special film for special tastes whose admirers inhabit festivals and smaller niche markets.
  3. Cleverly put together by writer-director Matthew Bate, the film takes a bizarre, cult folktale and turns it into a picture that is more provocative than entertaining.
  4. If it weren't so good-natured overall, Anne Sewitsky's feature debut Happy, Happy might seem entirely implausible, even for a comedy.
  5. The film, well made in every way, smartly focuses on an unlikely friendship between Gretel and the athlete who ultimately replaced her -- a high jumper who was later revealed to be a man!
  6. The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
  7. Overall, film hits the right tone, and its brief but fascinating glimpses into Goodall's private life distinguishes it from the many TV docs on the lady.
  8. The film tracks the history of the country, but viewers may feel the documentarian inserts herself too much into the story.
  9. If ever a film cried out for the 3D treatment, it's The Mill & the Cross, an ambitious but frustratingly flat attempt to explore, analyze and dramatize a masterpiece of 16th-century art.
  10. Amusing, but formulaic, romantic comedy.
  11. This muscular thriller--led by Jason Statham, Clive Owen and Robert De Niro--strives to be a genuinely good film, but unwilling to let go of proven formulas, it falls short.
  12. Classy and professional throughout, the technical work gracefully holds all the threads together.
  13. The movie does achieve something nearly impossible: Someone who doesn't even like the sport may care about Billy Beane and the 2002 Oakland Athletics.
  14. Unfortunately, the R rating will prohibit the target audience -- namely teenage boys who find penis jokes endlessly hilarious - from seeing this relentlessly unfunny and vulgar effort until it shows up on video and cable.
    • 53 Metascore
    • 50 Critic Score
    Directed with feeling for its richly layered protagonists, the film is elevated by its emotional complexity but simultaneously dragged down by the relative shortage of propulsive, hardcore action.
  15. This is awareness-raising documentary cinema at its most urgent and necessary.
  16. Liz Garbus' documentary tells the compelling and powerful story of the late chess prodigy.
    • 87 Metascore
    • 80 Critic Score
    Informative and, especially in its last hour, surprisingly dramatic.
  17. Director David Weissman brings a rewardingly fresh and personal perspective to the subject.
    • 49 Metascore
    • 50 Critic Score
    Sumptuously clothed in vintage fashion, pop idols Wu and Hsu may bring in a younger crowd otherwise indifferent to the dated subject, but their performances are unimpressive.
  18. This is a film that should be seen by anyone who wants to learn where we've come from as a nation.
  19. The pressure cooker plot calls for intense performances all around but first among equals are Winslet and Ehle.
  20. The PG-13 film is heavy on scenes of cloudy blood in the water but almost entirely lacking shock shots of flesh torn asunder. (And while marketing relies heavily on bikinis, the movie's light on that kind of flesh as well.)
  21. 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.
    • 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.
  22. Not only is this film's form clichéd, so is its content.
  23. This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.
    • 41 Metascore
    • 50 Critic Score
    In Bodyguard, Khan seems to have a tongue-in-cheek awareness of his major strengths - able comic timing and a cartoonishly muscular physique - and in case that's not obvious enough, he flexes his biceps to the beat in the film's opening song and literally winks at the camera.
  24. Proves too anticlimactic for the audience to maintain interest.
  25. Although it lacks the historical aura of classic Chinese wuxia backdrops, James Chiu's post-"Avatar" production design is memorably imaginative.

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