The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,053 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 Little Men
Lowest review score: 0 Dirty Love
Score distribution:
8053 movie reviews
  1. It's never fun watching a comedian's shrewdness ossify into shtick. Yet whatever incisiveness Ricky Gervais once had (and he had plenty, if The Office and Extras are any indication) is barely evident in the new Netflix-released satire Special Correspondents
  2. It may be Hot Sugar's Cold World, but that doesn't mean we have to live in it.
  3. Where Attenborough's script lent an air of dignity to the shorter film, Allen's reading of Philip LaZebnik's cutesy narration has a canned feel, and is unlikely to connect with viewers too young to appreciate cliched humor about the joys of bachelorhood versus the duties of parenting.
  4. Many Christians yearning for faith-based entertainment will be moved by this film, and that crowd may well ensure a profit for the production. But more picky viewers will admit that even taken solely as an exploration of the trials of being a Christian teen, it's awfully weak tea as a movie, instantly disposable if not for the tragic backdrop.
  5. Lack of originality and self-awareness prove to be a fatal combination. There is something way too familiar about Hoffman's rites-of-passage portrait of wasted youth, with its inevitable soundtrack of fashionable angst-rock and predictably retro-cool cult-movie influences.
  6. In terms of real horror, nevermind sexual-politics provocation, "Grave" can neither re-create its predecessor's impact nor compete with stranger new beasts like Lars von Trier's "Antichrist."
  7. This is a shallow snapshot of First World problems and feeble conflicts that makes you despair for the state of gay-themed drama, perhaps even more so because it's capably acted and assembled with a slick sheen.
  8. No legitimate distributor would bother with a film "whose crackpot elements aren't even exploited in a way that will appeal to those watching solely to make fun of them."
  9. Director/co-screenwriter Pearry Teo succeeds in investing the silly proceedings with spooky visual stylishness, providing enough scary demons and possessed mannequins to deliver the requisite jump scares. Unfortunately, the film also features sound, which results in the audience being able to hear the inane dialogue accompanying the familiar horror tropes.
  10. Depicting the very long, violence-filled night that ensues after a group of young people trespass in a creepy, abandoned prison, Against the Night proves as generic as its title.
  11. There's little sense of personal investment from the director, but Egoyan does what he can to keep the story moving forward, without getting bogged down in its implausibilities, which are too many to count.
  12. 13
    As leaden as the bullets whose random behavior it revolves around, Géla Babluani's 13 fails to recapture the sweaty tension of his original 13 Tzameti, a French import that reeked of style and first-timer ambition.
  13. The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.
  14. Whatever you have to pay, it's too much.
  15. Making her feature directorial debut at the tender age of 70, veteran actress Connie Stevens delivers an obviously heartfelt but sadly unfocused melodrama in the form of Saving Grace B. Jones.
  16. Onscreen, it somehow manages to be at once wildly overblown and terminally boring.
  17. Concerned with both physical and psychological hazards of the job, Life on the Line manufactures a pileup of looming disasters to which director David Hackl lends no cadence.
  18. The film becomes a hodgepodge that will enlighten few viewers.
  19. Despite its effort to double as a sincerely impassioned message about female empowerment, My Way mainly comes across as a relentlessly self-serving promotional vehicle.
  20. Pan
    What fun there is falls to Jackman, who gives the grand old man of pirate characters plenty of fresh and unusual wrinkles and emerges better than the others simply by virtue of playing a two-dimensional, rather than one-dimensional, figure.
  21. Not so much blasphemous as just outrageous for the hell of it.
  22. Toilet humor, jokes about paraplegics and serious overacting make this lowbrow comedy an irritating watch.
  23. Assassin’s Creed is resolutely stone-faced, ditching the humdrum quips that are par for the course in today's blockbusters. But this is almost two hours of convoluted hokum that might have benefited from a few self-deflating jabs.
  24. The English term "shambolic" best describes a slow-paced, bloated and self-indulgent picture that combines science fiction, sophomoric humor and grisly violence soaked in a music-video sensibility.
  25. This remake turns a fondly remembered horror/thriller into a mild and tedious suspense film.
  26. A seemingly well-intentioned but deeply flawed film about dementia that becomes as erratic and misguided as its protagonist, Sharon Greytak's Archaeology of a Woman does no favors to those afflicted with cognitive disease or those hoping to understand them.
  27. Given the tragic and highly charged events it depicts, All Eyez on Me is oddly low on emotional bite, perhaps because it never feels real. As clean and polished and blandly overlit as a TV soap opera, Boom’s film looks and feels smaller than Tupac’s cinematic life story.
  28. As it thuds along from one wolf attack to the next, Catherine Hardwicke's first film since taking leave of Bella and her toothy friends adamantly refuses to provide any wit, humor or fun.
  29. A very loose and extremely limp adaptation of Don DeLillo's 2001 novella The Body Artist, it palpably aspires to be a classily highbrow kind of romantic ghost story with psychological thriller undertones, but falls laughably short of its goals.
  30. Originality or insight aren’t very high on the priority list of this drama.
  31. Not even Douglas can redeem The Reach, the terminally silly and thoroughly disposable new thriller he stars in and produced.
  32. The sad result is a karaoke nightmare. Loud and pointlessly crude, the film takes the disintegration of a dysfunctional working-class family and gives it the song-and-dance treatment.
  33. It falls short on character definition, emotional involvement, narrative drive and originality.
  34. If ever there was a lusty, lowbrow genre film destined for a life on video, this is it.
  35. Fails both as historical re-enactment and as action-flick thrill ride.
  36. Its rhythms are sluggish, its jokes predictable and the gags are set up with such thudding deliberateness that even the sight of Ferrell losing control of a motorcycle, careening through the air and crashing straight through his house barely raises an eyebrow.
  37. The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.
  38. While the precociously talented Sidney, played by Logan Lerman, is not an uninteresting character, the artificially constructed nature of the narrative gives the supposedly shocking revelations way too much importance, essentially subjugating any sense of character development and flaws to its mystery-type structure.
  39. Combining its adventure and romantic plotlines in painfully hokey fashion, The Space Between Us (the title is a pun, get it?) is so ludicrous that only a cinematic stylist might have been able to pull it off.
  40. With the exception of a decent train-top chase, Torque is all vroom and no action.
  41. Let's Go to Prison ultimately feels as long as a stint in the big house.
  42. This latest installment of the horror movie spoof franchise is mainly notable for its Charlie Sheen/Lindsay Lohan cameos.
  43. Small-screen comic talent is all over Fresno, with key players from series including Parks & Rec, Arrested Development and Portlandia teaming up for a tale of two sisters stuck with a hard-to-dispose-of dead body. The feature, sadly, exhibits none of the smarts or agility that fuel those series.
  44. Notable Bollywood producer-director Vidhu Vinod Chopra makes a highly uneasy transition to American films with this weirdly baroque modern-day Western that, while it boasts undeniably imaginative visual and plot flourishes, is far too absurd to take seriously.
  45. It’s especially sad to see such notable actors as Caan and Patric reduced to appearing in this sort of bottom of the barrel, direct-to-video fare.
  46. This lame effort represents international collaboration of the most mediocre kind.
  47. The movie morphs from sluggishness to confused ludicrousness, as it turns into a thrill-deprived thriller.
  48. Dead air left in conversations may be meant to unnerve viewers, but is more likely to bore them.
  49. What's most disturbing about "Bank" is its lack of ambition. Maybe Jenkins will take more chances in the future. If he's lucky, this stinker will be quickly forgotten.
  50. Nothing anchors the lighter-than-air story as it drifts away under the direction of Stephen Norrington ("Blade") into an FX stratosphere where wit, character and vigorous storytelling cease to matter.
  51. Lame sketch comedy, an uninspired performance from Will Ferrell and an overall failure of the imagination turn Brad Silberling's Land of the Lost into a lethargic meander through a wilderness of misfiring gags.
  52. Gus Van Sant’s sticky, gooey side — previously on display in the likes of Finding Forrester and especially in the 2011 Restless — oozes out once more in the woefully sentimental and maudlin The Sea of Trees.
  53. The film ultimately becomes bogged down by its meandering dialogue, generic characterizations and such mild attempts at suspense as one of the quintet worrying about a brother in New York City.
  54. Eden Lake has the trappings of a low-IQ thriller but it's really a contemptible tract feeding the prejudices of the U.K.'s rightwing tabloids that claim the country is overrun by teenagers wielding knives.
  55. A lackluster affair, devoid of laughs and just about anything else one might construe as entertainment.
  56. This overly convoluted and contrived farce features a typically scenic setting and an engaging performance by Helena Noguerra in the central role but otherwise has little to recommend it.
  57. The real problem here is not the shameless blurring of fact and fiction, but how unforgivably dull it all seems.
  58. This is the sort of bad film that can only come about as the result of misguided ambitions.
  59. Despite its scaldingly hot cast and formidable writer/director combination, The Counselor is simply not a very likable or gratifying film. In fact, it's a bummer.
  60. Playing somewhat like a juvenile version of "Rosemary's Baby," this inept, incoherent attempt to cash in on young girls who can't buy a ticket to the R-rated "Saw V" (or are too lazy to sneak in) will be out of theaters long before the Halloween pumpkins start to rot.
  61. Despite its promising set-up, Hostile Border lacks narrative tension, with the screenplay by co-director Kaitlin McLaughlin never quite coming into dramatic focus. The characterizations feel sketchy, and the paucity of dialogue proves more frustrating than atmospheric.
  62. A thoroughly undistinguished addition to a genre that probably reached its peak a quarter-century ago with "An American Werewolf in London."
  63. Gratingly unfunny groaner littered with zero-dimensional, unlikable characters and hackneyed, threadbare comic setups.
  64. Bored audiences enduring this talky, aimless film might wish that they, too, were watching the porno film that is seen only in brief snippets.
  65. Rather than engage in slow-build horror, Pascal Trottier's screenplay flips the switch into Poultergeisty chaos.
  66. This thin concoction of domestic drama and thriller suspense won't hold up after the curiosity factor runs its brief course. Neither Robert De Niro nor a phalanx of a dozen producers can deliver Godsend from unintentional comedy.
  67. Just lousy.
  68. This dour, uninspired, Hispanic-themed variation on the profitable "Step Up" dance movies is unlikely to similarly rouse teens.
  69. It’s a waste of a good cast as well as a serious trip-wire for McCarthy, who may know what’s best for her talents but, on the evidence, needs a deft-handed outsider to make sure she’s maximizing them.
  70. A gore fest aimed at indiscriminate action fans. Those interested in learning more about goings on in medieval history will probably find the splatter tedious and off-putting.
  71. Now that the filmmaker has reached a certain age, she no longer seems to have her finger on her generation’s pulse. Case in point: The Hot Flashes, a ribald comedy whose menopause-referencing title is all too indicative of its pandering humor.
  72. No one doubts that the country faces major challenges in the next four years, but there is one safe bet: The future is unlikely to be affected by this simplistic documentary.
  73. Alternately both repetitive and repulsive, this home-invasion thriller never quite hits its stride.
  74. By the time director Alexandre Aja brings together the pieces with an illuminating pang of emotion, most viewers’ confusion will have given way to indifference.
  75. Smultaneously silly, ostentatious and terribly boring.
  76. When the gags a movie is most confident in — the ones it uses three or four times, as if they were sure things — involve pushing unsuspecting pedestrians into a bush or riffing on "Bond, James Bond," something's wrong in the yuk factory.
  77. A teens-in-trouble thriller with barely enough momentum to make it to the end credits. Performances and script are made-for-cable grade.
  78. Unfortunately, whatever father/daughter, time/memory, music/therapy issues Jaglom is striving to invoke here come across as mostly psychobabble and immaturity.
    • 34 Metascore
    • 30 Critic Score
    Krakowski's heavy-handed overreaching is the fatal problem: It's impossible to believe this character, even as he softens late in the game, as a forgiving and familiar victim of awful parenting.
  79. Surprisingly for a writer turned director, the most evident shortcomings with Garcia’s feature originate with the script. With barely any backstory to support them, the characters consistently appear to lack the motivations necessary for their actions.
    • 49 Metascore
    • 30 Critic Score
    Overlong and aimless documentary.
  80. While director Martin keeps the film moving, its implausibilities turn from holes into canyons.
  81. Has there ever been a Hollywood adaptation of a major novel as faithful and yet so misguided and downright strange as the three-part version of Ayn Rand's Atlas Shrugged that now comes to a conclusion with the third installment?
  82. Although Rulin displays a compelling neurotic edge as the driven Emily, Chenoweth and Modine are unable to breathe much life into their schematic roles, while the supporting players are basically saddled with conveying a compendium of quirks.
  83. An indie ethnic comedy clearly hoping to become the Jewish equivalent to "My Big Fat Greek Wedding," this well-timed offering, which arrived in time for Passover, is unlikely to have that sort of crossover appeal, or any appeal at all, for that matter.
  84. The only people sure to love this concoction are those working for Rio's tourism bureau.
  85. There's neither topicality nor bite in this bland pseudo-thriller, which lathers on composer H. Scott Salinas' high-suspense score like shower gel after sweaty sex, yet rarely musters an ounce of genuine tension.
  86. The screenplay co-written by Nicholas Thomas and director Luke Greenfield fails to mine the potentially humorous premise for the necessary laughs, with nearly all of the gags falling thuddingly flat.
  87. It's So Easy and Other Lies makes for a tedious cinematic experience that will only be appreciated by McKagan's hard-core fans. And even they're likely to come away less than enthusiastic.
  88. A puerile combination of raunchy sex comedy and bland action vehicle, CHIPS will likely manage the difficult feat of simultaneously alienating fans of the original series and newcomers who will wonder why a buddy cop comedy displays so much homosexual panic.
  89. This posturing, airless exercise is wearing rather than exciting.
  90. Manages to be insulting both to slasher movies and lesbians. Where's the gay rights movement when you need it?
  91. A collection of feeble jokes in the service of green themes. Sustainability never looked so stupid.
  92. It’s not a problem there’s a hole, as it were, in the common-sense logic of the film’s world; it’s that there’s a big, gaping hole where the illogic should be, a whole lot of nothing where there should be metaphor, playfulness, all that juicy, enigmatic, magical-realism stuff that helps films like Being John Malkovich and its many knockoffs become fodder for film-studies essays.
  93. Reduced to a teen girl empowerment vehicle that trots out every show business cliche about sacrificing your values for stardom, the film is a non-starter.
  94. The rather routine imitation of reality TV-style camera and editing techniques, along with uninspired special effects associated with Carson’s spiritual affliction, don’t attempt to break new ground but gain little by repeating familiar formulas.
  95. Playing the emotionally shut-down driver for an escort service, the actor provides what little interest there is to be found in this otherwise aimless depiction of urban alienation.
  96. This silly film does nothing to enhance Taiwanese auteur Tsai Ming-liang's reputation. The acting is below par, the mise-en-scene is clumsy and the structure is lazy.
  97. This low-rent frat house comedy is at once far more vulgar and decidedly less anarchic than its obvious inspiration and should flunk out of theaters before this year's crop of freshman students even finish unpacking their bags.
  98. Ultimately a hollow and pointless exercise.

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