The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,027 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 Blue Caprice
Lowest review score: 0 What Love Is
Score distribution:
6,027 movie reviews
  1. It doesn’t really add up to much, beyond a timely reminder that it would be better for everyone to stop uploading and downloading and just unplug and be human.
  2. Beckinsale delivers even if Underworld doesn't quite manage to follow through on its initial promise.
  3. Monogamy doesn't manage to find anything particularly new to say, and says it very, very slowly.
  4. A home-captivity picture boasting all the implausibility associated with that genre and nearly none of the thrills.
  5. This is a good premise for a comedy, but somewhere along the way, it got diluted and turned into a sappy, feel-good story of family togetherness.
  6. Club Life demonstrates that not everyone has a compelling story to tell.
  7. Unfortunately, writer-director Scott Walker's film is a muddled and strangely inert one, generating little of the suspense or anguish its subject requires; despite its high-profile cast.
  8. Sadly, this film's POV conceit -- in which all scenes are shot by the characters, whether they have a plausible reason to hold the camera up or not -- quickly becomes as grating as Kelly herself.
    • 56 Metascore
    • 40 Critic Score
    Ultimately the movie disappoints, falling between two stools and failing to convince either as spectacle or as a fable about religious obsession.
  9. Noisy and giddy, the film makes a stab at "Moulin Rouge" territory but ends up as a very trite story of boy loses girl, boy finds girl. It is also stridently camp -- not so much roaring '20s as screaming.
  10. Monson does succeed in editing the frequently dissimilar footage together into a fairly attractive package, although an animated sequence depicting the power of cosmic forces and another illustrating an historical timeline of human events feel rather too forced and self-consciously showy.
  11. Replacing the first two films' simplistic, man-on-the-run premise with a stuttering plot comparatively light on action and stuffed with red herrings and inconsequential characters... Besson's team has signed off the trilogy with a whimper rather than the kind of unfettered bang delivered by the first two films.
  12. A grindhouse quality that makes Loosies almost fun in flashes. But flashes are all they are -- pleasures even more fleeting than an off-brand smoke bummed from strangers in an alley.
  13. Someone else's vacation photos are never much fun to watch, and this beach party is a drag for onlookers.
  14. Doesn't quite manage to elevate its subject to a sufficiently interesting level for anyone who isn't already one of its frequent visitors. A good stroll inside your nearest city park would provide a more edifying experience.
  15. Cheesy reality shows monopolize the TV schedule, but must they infect our multiplexes as well? Love, Etc., Jill Andresevic's documentary depicting the romantic travails of various New Yorkers, is a disturbing example of a trend that is to be soundly discouraged.
  16. Fleischer stages one chase scene with a bit of comic flair but otherwise never locates that mix of macabre action and comedy that at least made "Zombieland" amusing.
  17. While The Empire in Africa offers a litany of talking heads and shockingly violent images in its exploration of the conflict, it is more confusing and disturbing than enlightening.
  18. Unfortunately, while director/co-writer Ed Gass-Donnelly displays an admirable restraint in his general eschewing of gratuitous gore, quick editing and flashy visuals, the results have a generally soporific feel.
  19. Strictly for the small-fry set, lacking the visual style, wit or imagination necessary to entice adult viewers.
  20. The Golden Cage (La Jaula de oro) is a lukewarm examination of a hot-potato political issue.
  21. A horror film dealing with the terrors lurking via our computers, cell phones and other electronic devices, Pulse isn't nearly as scary as watching your hard drive crash or having your BlackBerry conk out in the middle of a vital call.
  22. A few zany and well-deployed turns of phrase generate some laughs, and the cast is game. But the pieces don’t all fit in this loose assemblage of showbiz spoof, family comedy and on-and-off love story.
  23. A coming-of-age tale and a JFK assassination conspiracy movie. The first half of that equation works nicely...But the assassination story line is absurd.
  24. There's little to distinguish this from the rest of the entries coming down the horror film assembly line, though the presence of Carrie Fisher as a shotgun-toting housemother who taunts the killer by shouting "Come to mama!" offers some camp value.
  25. Moore stays "on message" here from first shot to last. There is no debate, no analysis of facts or search for historical context. Moore simply wants to blame one man and his family for the situation in Iraq the United States now finds itself in…So the real question is not how good a film is Fahrenheit 9/11 -- it is undoubtedly Moore's weakest -- but will a film help to get a president fired?
  26. The picture's first-person focus makes it surprisingly uninformative and occasionally annoying.
  27. The film feels sleazy and nasty --- but without the pulp kick of filmmakers who know how to do sleazy and nasty.
  28. Ends up committing the spoof genre's worst crime: becoming a tired parody of itself.
  29. It admittedly starts off great guns, but all too quickly it becomes apparent that the big-screen arrival of the supernatural Western DC Comics series Jonah Hex"is firing loud, empty blanks.

Top Trailers