The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,171 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 Kill Bill: Vol. 2
Lowest review score: 0 I Know Who Killed Me
Score distribution:
6,171 movie reviews
  1. The ambitions and intentions of War, Inc., co-written by and starring John Cusack, are laudable, but the film is a nearly complete misfire.
  2. They don't make movies like Jolene anymore, and that's a good thing.
  3. The story keeps everyone in motion all night long, and frantically so, to the point that it could easily have been titled Non-Stop 2.
  4. Safelight squanders the efforts of a talented cast who are unable to lift the material beyond its clichés.
  5. Poker has proven itself a popular spectator sport on television -- at least in the short run -- but as scripted drama, where you can pretty much guess the winner of a given hand, it's dull, dull, dull.
  6. If it was still the 1980s, then Dumbbells might actually be a hit.
    • 31 Metascore
    • 40 Critic Score
    It's all an earnest effort, three decades too late.
  7. Rabindranath Tagore: The Poet of Eternity, although clearly lovingly intended, is too haphazard and unenlightening to fulfill its mission of educating Western audiences about the first non-European to win the Nobel Prize in Literature.
  8. Of interest to Police fans but hardly a rock-doc for the ages.
  9. ATM
    As with so many films of this ilk, plot holes and inconsistencies abound, with audiences likely to express in loudly vocal fashion their opinions about what the characters should or shouldn't be doing.
  10. A flavorless literary adaptation sunk by a lead actor, screenwriter and co-directors that are all out of their depth.
  11. Audiences will have to seek out their own peculiar diversions in order to last the whole course of this demi-dud.
  12. Every move is telegraphed well in advance thanks to desultory writing, routine direction and ample musical cues.
  13. More casual fans are advised to wait a movie or two and see if Begos can do anything new with the idiom he knows so well.
    • 33 Metascore
    • 40 Critic Score
    Not for the faint of heart or for those who like their films to have beginnings, middles, and ends.
  14. Allen the writer-director has gone tone-deaf this time around, somehow not realizing that the nonstop prattling of the less-than-scintillating characters almost never rings true.
  15. A misfire. The film that wants to be lighter than air instead crashes to earth with the swiftness of a concrete parachute.
  16. The Change-Up bravely attempts to revive the dormant subgenre but it's a lame effort that grows increasingly frantic and foul-mouthed as the realization sets in that the gimmick isn't working.
  17. While this is indeed a likeable enough group, watching them interact with each other over the course of 80 minutes becomes a bit wearisome.
  18. All the interest and good will built up by the sharply conceived preliminaries is washed away in a succession of scenes that feel crushingly routine and generic, not to mentioned guided by ideological urges.
  19. Magic in the Moonlight does have a not-disagreeable expensive-vacation vibe to it. But the one-dimensional characters are mostly ones you’d want to avoid rather than spend a holiday with.
  20. Solid performances are undercut by lack of storytelling integrity in this plodding biopic.
  21. Unfortunately, Allegiance is less sure-footed in the filmmaking department, rendering its potentially suspenseful storyline stilted and uncompelling.
  22. There are twist endings and there are twist endings -- and then there is the logic-strangling, complete cheat of a reveal that takes place in the final 10 minutes of Hide and Seek. It's so absolutely preposterous that it stops the film cold and draws a collective "Aw c'mon!"
  23. Yet another stylish exercise in depravity in which Huppert floats through the sordid proceedings in a calm haze. If only the film she inhabits was as sexy as it aspires to be.
  24. Cub
    This unquestionably good-looking film, shot by world-class cinematographer Nicolas Karakatsanis (The Drop, Bullhead), plays like a Low Countries-variation on the classy Spanish-language work of Guillermo Del Toro, at least in terms of style if not substance, with what little narrative there is more of a clothesline for small-scale set pieces rather than a conduit for character insight.
  25. The wistful pleasures are stretched awfully thin at almost two hours in a film that blurs the line separating self-irony from tiresome self-consciousness.
  26. Awfully dull, with scant evidence of the sort of things that make horror movies attractive -- like mounting suspense and spine-tingling creepiness and, oh yeah, the element of horror.
  27. A bigger-louder-dumber take on that good ol' CBS hillbilly hit, the movie version of "The Dukes of Hazzard" starts off on the wrong foot and keeps heading, appropriately, south.
  28. Its deadly serious take on the subject may inspire more titters than anything else.

Top Trailers