The Hollywood Reporter's Scores

  • Movies
  • TV
For 4,935 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 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 It Might Get Loud
Lowest review score: 0 Movie 43
Score distribution:
4,935 movie reviews
  1. Ultimately, the film is as numbingly boring as, well, a lengthy train ride during which there's nothing to do but look out the window.
  2. The clumsy and cliched approach by writer-director Bala Rajashekaruni robs the movie of any dramatic punch.
  3. Director Benjamin doesn't really handle the material with the outrageous excess it deserves, with the result that the proceedings seem far too mild.
  4. For the most part, the acting is shrill and cartoonish. Indeed, most of the actors appear to be, in the finest desi filmmaking tradition, from the filmmakers' close circle of friends and family.
  5. What the problem comes down to is a group of filmmakers making misguided choices in an effort to broaden the movie's demographics beyond those who attend X Games.
  6. Gratingly unfunny groaner littered with zero-dimensional, unlikable characters and hackneyed, threadbare comic setups.
  7. 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.
  8. What fans of the original movie, "Charlie's Angels," which was fun and good-natured, will make of this sloppy mess is hard to guess.
  9. Casa feels like a miss. The digging into each of these women's lives stays shallow and seldom uncovers anything unexpected.
  10. Having tackled treacherous terrain to film Hayata's story, the filmmakers miss the opportunity to deliver a scorching testament to the dangers and passions that drive the saga.
  11. The story has little resonance or depth. The R-rated movie comes off as exploitative and derivative.
  12. Bored audiences enduring this talky, aimless film might wish that they, too, were watching the porno film that is seen only in brief snippets.
  13. With the exception of a decent train-top chase, Torque is all vroom and no action.
  14. The results might make for some swell production stills, but as a motion picture, Teknolust never really makes it alive out of Hershman's head.
  15. A limp sex comedy about men behaving badly.
  16. Combining the ludicrous with the lurid, Twisted is twisted all right.
  17. In terms of inspiration or even the slightest shred of ingenuity, Banks ranks more like an 000 than an 007.
  18. Ultimately a hollow and pointless exercise.
  19. By the time they're done with all the tinkering, "Scooby-Doo" ends up bearing as much a resemblance to Hanna-Barbera as the recent "Cat in the Hat" did to Dr. Seuss.
  20. 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.
  21. Even more egregious than the film's concept is its execution, as it somehow manages to make scenes of drug addiction, hustling and even brotherly incest quite tedious.
  22. A dysfunctional drama.
  23. From its uninspiring title -- and certain turnoff for young males -- to its limp slapstick and uneven acting, A Cinderella Story arrives with a dull thud.
  24. Manages to be insulting both to slasher movies and lesbians. Where's the gay rights movement when you need it?
  25. The scariest thing about this film is how desperate the makers are to earn a scream.
  26. The sequel retains not only the same gimmicky premise as the original but its preference for cliche-ridden dialogue and flat-footed comedy as well.
  27. May have been adapted the 1996 French film "L'Appartement," but pretty much all evidence of what was once an engaging psychodrama has been lost in the translation.
  28. Litvack is lazy with his jokes, characterizations, motives, and plotting.
  29. A bland, formulaic picture where romance and comedy are noticeably absent. A more wooden and uninspired effort from talented people behind and in front of the camera is difficult to imagine.
  30. This thoroughly repetitive, ill-conceived and poorly executed effort -- with an emphasis on the word "effort" -- defeats these two talented people more often than not.
  31. A laugh-starved comedy that seeks to plug into the comic stylings of Mo'Nique for its energy and humor.
  32. A paranormal mystery without a spine. It has no suspense because it has no belief in itself.
  33. David Hubbard's script is so steeped in sludgy sentimentality that the film's early hints of quirkiness quickly give way to heavy-handed faith healing.
  34. If ever there was a lusty, lowbrow genre film destined for a life on video, this is it.
  35. Ultimately, the film staggers under the weight of its pretensions, its plot spiraling into murky illegibility.
  36. Definitely third-rate Holocaust material.
  37. Muddled and uninteresting.
  38. Along comes Elektra to effectively lower the bar for Marvel Comics page-to-screen transitions.
  39. Runs 96 minutes but feels like so much more. There is only one gag.
  40. The sort of soft-core, erotic thriller that would benefit from a lot more trash and a lot more sex.
  41. A lackluster affair, devoid of laughs and just about anything else one might construe as entertainment.
  42. An examination of a sexual relationship that's about as viscerally explicit as hardcore can get...But as satisfying viewing experiences go, the film comes up mighty short in terms of story, interesting characters and technical prowess.
  43. A bottomless pit of lame characters, horror-film cliches and improbable monsters.
  44. An entirely dispensable, soapy caricature of a love story that comes complete with a jukebox full of music industry cliches plus Ashlee Simpson's big feature film debut.
  45. Dirty Deeds is as feeble as a teen comedy can get.
  46. Nick Cannon, playing an L.A. cop who goes undercover as a prep school student, provides the few sparks this wan action-comedy can muster.
  47. This misbegotten horror film deserved to go direct to video. Or cable. Or oblivion.
  48. Has little to say to moviegoers. Goldberg's direction is all flash and no substance, and his story and characters offer little reason for viewers to empathize with such self-pitying characters.
  49. Just lousy.
  50. Smultaneously silly, ostentatious and terribly boring.
  51. A disturbing supernatural drama that leaves a sour taste in the mouth.
  52. An oddity as awkward as its title, Angels With Angles is writer-director-star Scott Edmund Lane's would-be valentine to old-school showbiz comics, wrapped in a silly adventure-romance involving Cuban cigars and, yes, Fidel Castro.
  53. Surrealism is one thing, but The Intruder appears so ill defined and random that it ends up looking simply inept.
  54. Attention, Ben Kingsley (I mean, Sir Ben Kingsley): It's officially time to turn in your Oscar.
  55. Fails to exploit the myriad comedic possibilities, settling instead for broad, unconvincing slapstick aimed at 12-year-olds and gags Shakespeare would have rejected as ancient.
  56. A disappointingly dreary affair.
  57. Toilet humor, jokes about paraplegics and serious overacting make this lowbrow comedy an irritating watch.
  58. Ultimately Adam & Steve mainly goes to prove that indie gay romantic comedies can be just as witless, vulgar and over the top as their straight, major studio counterparts.
  59. You have to credit the filmmakers for at least acknowledging their level of dreck during the final credits, when Lovitz rhetorically asks, "This was a complete waste of time, wasn't it?"
  60. The writing is rudimentary and the direction often awkward, but Mo'Nique would confound a veteran director.
  61. 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.
    • 51 Metascore
    • 30 Critic Score
    A road picture mired by unsteady camera work, lackadaisical pacing and cumbersome speechmaking, Free Zone is an excruciating cinematic trek. Israeli director Amos Gitai's narrative, both visually and conversationally, is a disappointing dud.
  62. Essentially a telenovela with cinematic pretensions, La Mujer de Mi Hermano (My Brother's Wife) is a vapid slab of soap depicting a love triangle among three remarkably uninteresting characters.
  63. Lifeless and irredeemably sour. It is difficult to imagine much of an audience embracing it, despite a cast of well-knowns and up-and-comers.
  64. A grim little drama about a young woman's experiences with a left-wing cult, Alison Murray's debut feature suffers from disjointed storytelling and myriad other problems, including a bizarre reliance on modern dance sequences to interrupt the action.
  65. Bottom line: A soft-hearted gross-out pic. If you're not a male between 17 and 23 and don't find the chance to see R-rated rejects from "America's Funniest Home Videos" a good thing, The Long Weekend will be a long and pointless haul.
  66. Once the initial round of breast-feeding and rectal thermometer bits is fired off, the picture starts to give off the funky whiff of unattended Pampers.
  67. Zoom is a movie that would make Dr. Frankenstein proud. Put together with parts from so many other movies, the thing positively clanks.
  68. Beerfest is tedious and, at 112 minutes, too long to sustain a sophomoric, one-joke comedy even for the presumed target audience of older male teens and the college-age crowd.
  69. For the most part, the proceedings are slow, solemn and tedious.
  70. The track records of the performers are impeccable, but Issit has obviously never watched an awards show or similar event where comedy actors appear unscripted. Placing the weight of such a preposterous storyline on their improvisational shoulders was a disaster waiting to happen. And it happened.
  71. Sharing its title with a historic Reno hotel that's seen better days (or maybe not), El Cortez is a clumsy lump of ponderous pulp fiction with "Cooler" aspirations.
  72. A misconceived washout of a darkly gothic story of madness, addiction and child abuse made all the more unpleasant by Gilliam's trademark intense visual style.
  73. The movie strands you in two miserable flats with these cliche-ridden characters and a static love story that is as predictable as it is pedestrian.
  74. Let's Go to Prison ultimately feels as long as a stint in the big house.
  75. There are a couple clever touches here and there, including one sequence in which the end of a candy cane has been carefully licked into a highly lethal weapon, but for the most part the accompanying histrionics feel more regressive than retro.
  76. A low-rent monster movie that could well have been released by American International in the early 1970s, Primeval boasts a level of cheesiness that should well merit it a regular rotation on late-night cable.
  77. A tepid ghost story filled with all the usual things that go bump in the night minus the somewhat crucial element of suspense, this bland effort from Sam Raimi and Rob Tapert's Ghost House Pictures is surprisingly devoid of the creepy, claustrophobic atmospherics that haunt the brothers' Asian work.
  78. All of [Cages's] natural charisma is unable to compensate for the plodding narrative and thin characterizations.
  79. 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.
  80. At best a kitschy "Catch Me If You Can" and at worst a tedious comedy that grows more tiresome by every self-consciously irreverent minute.
  81. Loaded with obtuse symbolism, the film is not only hard to understand, it isn't much fun trying to figure it out.
  82. The star wattage quickly dims in this slick-looking but ringingly hollow affair that starts off generically at best before collapsing into a convoluted heap of shrill screen cliches.
  83. The hilariously dirty insult comic Lisa Lampanelli shows up all too briefly as Engvall's shrewish wife.
  84. Proves to be more prone to malfunction than dysfunction.
  85. Overlong and overstuffed with cliches -- the movie doesn't seem to realize how close it comes to comedy.
  86. Pretentious to the core and lacking any context or credible characterizations.
  87. Longing makes you long for a good movie. Tedious and long-winded even at 90 minutes, this German film, written and directed by Valeska Grisebach, tells a mundane tale of adultery that lacks even the slightest insight.
  88. A thoroughly undistinguished addition to a genre that probably reached its peak a quarter-century ago with "An American Werewolf in London."
  89. Ultimately this is utterly forgettable stuff, not even managing to fulfill its mandate of mindless summer fun.
  90. Any scrap of charm or honest-to-goodness humor already possessed in limited quantities by the original has been relegated to the outhouse in this sorry follow-up.
  91. 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.
  92. While this actor-filmmaker has delivered such worthy films as "A Rage in Harlem" and "Deep Cover" in the past, this misbegotten effort would be instantly forgettable if not for its potential as future camp classic.
    • 42 Metascore
    • 30 Critic Score
    Trade is an earnest attempt to dramatize the network of Internet sex "tunnels." Unfortunately, the film's horrific and important subject matter is distilled into a lackluster lump of generic buddy-movie/road-picture components.
  93. The most appreciative audience for this lame National Lampoon release likely will be guys in tour buses.
  94. All the while, the music screams and clamors like an ignored child because director Xavier Gens and writer Skip Woods can't pump suspense into this inept mess.
  95. 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.
  96. The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.
  97. The direction is uninspired, acting is lifeless, and the script borders on the inept.
  98. Poorly structured and at times incoherent.

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