The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,590 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 Coriolanus
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
7590 movie reviews
  1. Spread over hours of poetic ramblings, the message loses most of its urgency.
  2. Offers more laughs than most comedies of recent vintage. But what was subversive on the tube feels muted at feature length.
  3. By the time it reaches its final act, the film rivals its American counterparts in intensity if not quite in explicit violence.
  4. Although it is overlong, it manages to be fascinating for much of its running time. But it also disappoints on many counts, providing another example of hype outpacing actual achievement -- a syndrome that Salinger himself would probably have deplored.
  5. Liberally riffing on situations and themes familiar from the high school-set movies that established the renowned writer-director’s legacy, Lee has crafted an entertaining alternative interpretation that substitutes an international cast of Asian actors for Hughes’ largely white, suburban ensembles.
  6. It all barrels along with a certain good-natured brio, even if ultimately falling short of bringing much that's new to what's already an overstocked table.
  7. A thoughtful piece of advocacy journalism.
  8. Benefitting from likeable, good-natured subjects and the peculiar pastimes with which they fill their cooped-up hours, the doc certainly gets us interested in and rooting for the Angulo boys.
  9. The observational detail is impressive and the two men's growing affection is well-drawn but Takerman's depiction of the conventions and strictures of religion and the impulses of two closeted gay men are too understated to achieve universality.
  10. The film feels a little too eulogistic, too reliant on hyperbole and too in love with its own gimmicks to make it more than just a serviceable crowd-pleaser.
  11. Hugely ambitious but often failing to live up to those ambitions, Terry Gilliam's long-awaited The Brothers Grimm emerges as a folkloric adventure that intermittently entertains.
  12. Filmed in a gorgeous, dreamlike style and Infused with heavy doses of mysticism and allegory, The Vessel is an impressive effort that loses some of its impact, however, for being so derivative.
  13. Offers just enough B-movie pleasure to keep genre fans busy for a weekend or two before heading from theaters to vid.
  14. Mustang fanatics will be thrilled by the level of access that Ford provided the filmmakers to shoot at the company’s Dearborn, Mich., headquarters and interview the Mustang design team headed by chief engineer Dave Pericak. Even so, it may be difficult to escape a sense that the film sometimes plays like an extended product promo.
  15. Hernandez's desire to utilize all the armaments of the filmmaker hits the viewer with a visceral force. What could have been a mess turns out to be a success.
  16. Fine performances and bristling language compel in this overlong, often off-putting but well-observed New York story.
  17. Although it seldom approaches the inspiration of its plucky premise... Free Birds nevertheless manages to avoid being branded a holiday turkey.
  18. The script succeeds by expanding the Paranormal Activity mythology with additional details and even a few surprising twists.
    • 68 Metascore
    • 60 Critic Score
    "Paranormal" ultimately does deliver in a way that "Blair Witch" never did, but its achingly slow buildup is a test not just of an audience's patience but the power of hype surrounding the latest alternative scary movie.
  19. Yadav’s concerns about discrimination and violence against women are evident in nearly every scene of the film, as her script positions each of the principal characters to undergo an experience of self-actualization in defiance of prevailing patriarchal norms.
  20. If the metrics by which you want to measure Love are its brute sexiness and technical panache, then the film is indeed rather extraordinary. Thanks to Noe's regular collaborator Benoit Debie (who also shot such recent visually bravura films as Spring Breakers and Lost River), Love contains some of the prettiest shagging scenes in cinematic history.
  21. While Disney’s Tinker Bell and the Legend of the NeverBeast might not ever be accused of risk-taking, the new adventure does feel a shade or two darker than previous installments.
  22. More a tone poem or gallery installation piece than a verite outing.
  23. Some individual scenes are certainly striking and the couple’s complex relationship and chemistry are believable but the overall narrative retains an erratic and somewhat jerky quality as the various elements don’t always logically build on what has come before.
  24. The outcome is engaging enough, although not entirely satisfying from either a genre or narrative standpoint, lacking both substance and a degree of imagination.
  25. The documentary offers little to further the national discussion on this divisive topic, but its evenhandedness and unstrident tone will go down well with viewers accustomed to more heated treatments of it.
  26. The 3-D footage of Titanic does speak volumes, and sometimes the sheer fussiness of all the ghosts and archival images get in the way. As huge as the Imax screen is, when six different images vie for one's attention, it looks cluttered.
  27. This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.
  28. An accomplished and stylistically audacious effort that all too accurately conveys the confusion and mental disarray of its subject's illness, ultimately to its detriment.
  29. A little more "Grifters" would have gone far here. Not toward making the film palatable for the mainstream, perhaps, but at least toward selling its neo-noir story to an audience already inclined toward such seedy material.

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