The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,594 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 The Club
Lowest review score: 0 Beyond Honor
Score distribution:
7594 movie reviews
  1. A gem whose intelligent, gentle, deadpan humor is entirely irresistible.
  2. The necessity of circumstances dictates everything anyone does here and you can only react with varying degrees of outrage, anger, disgust, pity, empathy and, if you're a blind optimist, hope for something better.
  3. While it's more dramatically diffuse than the reboot and lacks a definitive villain, the new film is shot through with a stirring reverence for the Marvel Comics characters and their universe.
  4. While the races, which go back hundreds of years, last no more than 90 seconds each, Palio packs enough intrigue into its proceedings to practically fuel a miniseries.
  5. Newcomer Van Acken is a phenomenal find and she’s never less than believably torn between doing the right thing and being her own person.
  6. Allen's dialogue is witty, his plotting zings along with forward momentum in all the right places, and his observation of elastic moral principles in flux is both mischievous and unsettling, yielding a tasty final-act Hitchcockian twist.
  7. I Origins is a bracingly venturesome, exploratory work that achieves an exceptional balance between the emotional and intellectual aspects of its unusual story.
  8. This is a richly textured genre piece that packs a visceral charge in its restless widescreen visuals and adrenalizing music
  9. Its sharp writing and essential credibility make this small, intimate tale fresh and involving.
  10. It didn't seem possible, but Johnny Knoxville, Bam Margera, Steve-O, Chris Pontius, Wee Man and company might just have cooked up a sequel that's even wilder, funnier, extra-depraved and more gag-inducing than the seemingly incomparable "Jackass the Movie."
  11. Refreshingly free of the tired human-interest personality profiles that afflict sports documentaries on both the big and small screens, director Eryk Rocha has created an impressionistic, visually stunning cinematic essay.
  12. The only frustrating aspect of this cinematic treasure is its brevity.
  13. The actor literally takes the metaphors of his bull-headed character to the limits and is never less than believable or mesmerizing.
  14. A breathtakingly immersive travelogue that packs a persuasive environmental undercurrent.
  15. Topped by a fine cast, a first-rate script by Nick Hornby and tight direction by Lone Scherfig, the film is a smart, moving but not inaccessible entry in the coming-of-age canon.
  16. The raunchiest, funniest and most enjoyably nonjudgmental American movie about selling sex since "Boogie Nights."
  17. Poetically composed, with marvelous lumps of wit and perspective, Of Times and The City is a masterwork.
    • 76 Metascore
    • 90 Critic Score
    A long but powerful true-life drama of 1970s German terrorists features masterful storytelling and bravura performances.
  18. The gorilla is great, the girl terrific, sets are out of this world, creatures icky as hell, and the director clearly does not believe in the word "enough."
  19. A stunning virtuoso performance by director, cast and crew. This movie knocks you out with an astonishing blend of hyper-realism, visual complexity and powerful themes.
  20. '71
    This outstanding, muscular feature debut for French-born, British-based director Yann Demange almost never puts a foot wrong, from the softly underplayed performances to the splendidly speckled cinematography and fine-grained period detailing.
  21. In Drug War, Hong Kong genre master Johnnie To gives a superlative lesson on how to give an updated, thoroughly engrossing twist to the classic cops-and-robbers chase.
  22. A mesmerizing, richly nuanced inquiry into Israel's revenge of the Munich massacre of its athletes.
  23. Denzel Washington ventures into the dark side as a seriously corrupt narcotics cop in Training Day, and the results are electrifying. So is the picture, thanks to taut, sinewy direction by Antoine Fuqua and a compelling script by David Ayer (The Fast and the Furious).
  24. The word "community" has become a cliche, but this party, both backstage and before the crowd, illustrates a specific sense of cultural community and the singular bliss of standing on a city street in late-summer rain for a once-in-a-lifetime concert.
  25. Constant lateral tracks, push-ins, whip-pans, camera moves timed to dialogue, title cards, chapter headings, miniatures, use of stop-action, fetishization of clothing and props, absurdist predicaments — all the techniques Anderson has honed over the years — are used to pinpoint effect here.
    • 55 Metascore
    • 90 Critic Score
    Once the stardust settles and the generations of "Star Trek" fans pass in judgment, this splendid production may emerge as the best movie to date inspired by the multiple-series TV phenomenon created by the late Gene Roddenberry. [15 Nov. 1994]
    • The Hollywood Reporter
  26. Darren Aronofsky wrestles one of scripture's most primal stories to the ground and extracts something vital and audacious, while also pushing some aggressive environmentalism, in Noah.
  27. A handsome and achingly sad period piece, a finely observed portrait of cast-aside dreams. The drama is quieter and more chaste than the similarly themed "Camille Claudel," but no less haunting.
    • 71 Metascore
    • 90 Critic Score
    The intensity of observation reminds one of Bergman's "Scenes From a Marriage," though of course played in a much more benign key. For the patient, the deliberate pacing is perfect, as each additional layer is quietly and subtly put in place.
  28. De Palma's screenplay is outstanding, and he draws wonderfully naturalistic performances from his youthful cast.
  29. Polished, funny and utterly charming.
  30. Blurring the confines between documentary and fiction, it takes the empathetic viewer on an incredible journey that can be almost as painful to follow vicariously from a theater seat as it must have been on the pilgrims.
  31. Transformers is a wet dream for fanboys, with vehicles that whiz and whir into alien robots, spectacular sci-fi stunt chases, glistening military hardware, overheated computer software and brainy, hot girls who love Popular Mechanics.
  32. Director David Weissman brings a rewardingly fresh and personal perspective to the subject.
  33. The outrageously hilarious For Your Consideration was well worth the wait. Again delivered with comic precision by Guest's crack repertory company, his patented brand of parody takes affectionate but deadly aim at its awards buzz mania target and the results aren't just funny, they're face-hurting funny.
  34. The Rider is a rare gem, a small, acutely observed portrait of a few lives on what used to be the frontier but is now a desolate backwater, the windswept badlands around Pine Ridge, South Dakota.
  35. It’s an altogether strange but astonishing work of craftsmanship.
  36. A genuinely moving look at life in a group foster home that avoids most of the usual routes into viewers' hearts.
  37. Cheerfully yet poignantly exposing the struggles, anxieties, disorders and obsessions of ordinary people, this is a film as odd as it is charming.
    • 74 Metascore
    • 90 Critic Score
    This searing, stylish account of World War II heroism from Denmark's Ole Christian Madsen avoids period realism, conveying the story of two heroes of the Danish resistance as a noir thriller, complete with shadowy alleys, double-crosses galore and the requisite femme fatale.
    • 81 Metascore
    • 90 Critic Score
    The frequently outrageous Il Divo follows the career of one of the best-known and most tenacious figures in Italian political history in a lively, sensory-overload, cartoonlike fashion reminiscent of "Amelie" and "Moulin Rouge." The fact that it's often over-the-top goes with saying, and is part of the fun.
  38. Voices in Wartime is a stirring testament to the search for meaning.
  39. All of the key creative personnel contribute to the movie's nail-biting tension and unexpectedly moving finale. Jon Harris's editing is matchless, and Rahman's score effectively heightens the emotion. Ultimately, however, it is the talents of Boyle and Franco that sock this movie home.
  40. Not only is the film a powerful historical record and a warning for future generations, it is an essential reminder to people, including many in Japan today, who might deny that this massacre ever occurred. As such, Nanking honors the highest calling of documentary filmmaking.
  41. Pray does not browbeat viewers into applauding the artist’s achievement. The filmmaker thoughtfully documents a phenomenon and allows the arguments to continue to rage after the lights come on.
  42. A fiendishly entertaining Christmas yarn rooted in Northern European legend and lore, complete with a not-so-jolly old St. Nick informed more by the Brothers Grimm than Norman Rockwell.
  43. Outstanding, entirely unique father-son portrait.
  44. The film is a documentary gem.
  45. Meru is an engaging and cumulatively exhilarating debut from wife-and-husband team Elizabeth Chai Vasarhelyi and Jimmy Chin.
  46. Firing on all cylinders as a creepy thriller, police procedural and "All the President's Men"-style investigative newsroom drama, the smart, extremely vivid production oozes period authenticity.
  47. The story's acceleration from anxiety to panic to hellish chaos is expertly managed, but more impressively, so is the control of internal narrative logic.
  48. Anvari deftly builds and sustains tension throughout, crafting a horror movie that respects genre conventions...while firmly establishing its own distinctive identity.
  49. Blanchett makes an indelible impression as a woman who, through breeding, intense personal cultivation and social expectations, has brilliantly mastered the skill of navigating through life.
  50. Director Beth Harrington packs enough drama, music and history to fuel a miniseries in her thoroughly entertaining and comprehensive account of the Carter and Cash families and their enduring contributions to American music.
  51. Kindness is evident in even the most hurt or exasperated moments of de France's lovely performance as Samantha. But then, kindness couched in unblinking social realism is an intrinsic part of how these supremely gifted filmmakers view the world.
  52. Expectations are fully met in Park Chan-wook’s exquisitely filmed The Handmaiden (Agassi), an amusingly kinky erotic thriller and love story that brims with delicious surprises, making its two-and-a-half hours fly by.
  53. Apatow's gleefully raunchy movies are, in an odd and charming way, extremely family-friendly.
  54. Bright Star may not be a joy forever but it will do until the next joy comes along.
  55. As gripping onscreen as it was onstage, London Road remains a work of great finesse and originality.
  56. In Changeling Eastwood continues to probe uncomfortable subjects to depict the individual and even existential struggle to do what is right.
    • 57 Metascore
    • 90 Critic Score
    The decibels, energy and overall quality are high in writer-director Kari Skogland's Fifty Dead Men Walking, her supremely well-made, highly stylized, graphic tale of Northern Ireland's "Troubles" in the late 1980s.
  57. The production is graced by bold performances, lyrical visuals and, most notably, Irving's own words, which have made the transition quite intact thanks to a faithful but still filmic adaptation by writer-director Tod Williams.
  58. A bold film both in its storytelling strategies and its filmmaking logistics.
  59. The fact that not every terrible thing can be remedied or appropriately punished is a tough lesson even for adults to learn, but A Monster Calls helps find the sense in it.
  60. Refusing to offer easy answers or perspectives, Dormant Beauty is directed in such a way it doesn’t need to take a clear-cut position on the question, because like all the director’s work it has no concern with convincing people of anything, but a great deal of interest in illuminating contemporary Italian society.
  61. Funny and frank in its observations, the film is a delightful snapshot of female friendship at that age, from the giddy highs to the melancholy funks, from the sustaining bonds to the jealousies and stinging betrayals.
  62. Dreamy, poetry-filled and prone to veering off on tangents, the picture teases viewers with such self-assurance it's difficult to believe the twentysomething director is a first-timer.
  63. Anchored by an internalized performance from Amy Adams rich in emotional depth, this is a grownup sci-fi drama that sustains fear and tension while striking affecting chords on love and loss.
  64. A refreshing throwback to another era of moviemaking: This movie was poured from the bottle, not one of those bar regulator machines. It's got the kick, style and flavor of a straight-up story, before movies were watered down with the opinions of marketers, lawyers and committee heads.
  65. To call this movie fascinating is akin to calling the Grand Canyon large.
  66. Be prepared to be emotionally devastated.
  67. Teaming with Depp, his long-time alter ego, Burton makes Sweeney a smoldering dark pit of fury and hate that consumes itself. With his sturdy acting and surprisingly good voice, Depp is a Sweeney Todd for the ages.
  68. What "Winged Migration" did for birds, Oceans does for all sorts of strange sea creatures in an ambitious, impressively filmed documentary.
  69. A visually enthralling undersea travelogue.
  70. For Christopher Nolan to turn Batman Begins into such a smart, gritty, brooding, visceral experience is astonishing. Truly, Batman does begin again.
  71. That rare sequel that took its time -- 23 years -- so it not only advances a story but also has something new to say.
  72. A biographical documentary doesn't get any better than this.
  73. Berliner crafts a quietly touching and illuminating memento mori from the steady dying of an intellectual light.
  74. Undeniably, it's a strange and savage blend, and Altman has undressed the fashion world as a heap of dirty laundry. He has fashioned a super satirical sendup. [9 Dec 1994]
    • The Hollywood Reporter
  75. Atom Egoyan has delivered a big, slick and sexy mystery in Where the Truth Lies, turning the Rupert Holmes novel into a sumptuous tale of show business hype and duplicity.
  76. This is an art film in spades.
  77. James has done a wonderful job of telling a colorful life story.
  78. Most of all, Earhart wanted to be able to fly free as a bird above the clouds, and director Nair and star Swank make her quest not only understandable but truly impressive.
  79. Raw
    It’s rare to see such confidence in a first feature, yet Ducournau seems to know where she’s going at all times, keeping the narrative lean and mean while utilizing an array of stylistic techniques – slow-motion, sequence shots and tons of on-screen prosthetics – that never let up until the witty, and inevitably grisly, final scene.
  80. Because Cutie and Boxer resists easy sentimentality, its view of life and love is all the more powerful.
  81. Much of the feature’s quietly accumulated emotional power derives from the fact that viewers have to connect some of the dots themselves. Indeed, just like in the subject’s own work, the imagination of the audience is as important an ingredient for the final result as what is actually written or suggested.
    • 88 Metascore
    • 90 Critic Score
    Mike Leigh has come up with a profound yet simple drama of family life generously leavened with comedy. [14 Oct. 1991]
    • The Hollywood Reporter
  82. The formula of ingredients is familiar and time-tested, to be sure, but some cocktails go down much better than others and McQuarrie and company have gotten theirs just right here.
  83. Transfixing in its workplace detail and haunting in its harsh commentary on a solitary existence.
  84. Audiences will eat it up: This is a postmillennial spy-action movie pitched to a large international audience. You hardly need subtitles.
  85. [An] evocative and atmospheric feature.
  86. The Love Witch is an expertly executed homage that works brilliantly on its own original terms.
  87. What sets Code Black apart is that the filmmaker is himself a physician. His extraordinary access to life-and-death moments and his illuminating perspective on the medical system make for a powerful viewing experience.
  88. A tough-minded, bracingly blunt look at the sometimes debilitating cost of doing business that casts an unblinking eye on the physical, emotional and moral bottom line.
  89. Haneke echoes the theme of Hitchcock's "Rear Window": Moviemaking is basically an act of voyeurism. We secretly examine people's lives in every movie. But in this one, there is a hidden camera, a movie within the movie as it were, forcing us to observe a character along side a mysterious stranger.
  90. The sense of time passing is hypnotic, and the image of the ghost, wounded and watching, unable to communicate or offer comfort, becomes more eerie and beautiful the longer we observe it.
  91. The devastating effects of head injuries in sports are detailed in Steve James' wrenching documentary.
  92. Sad and disturbing, this smartly and conscientiously crafted film is a powerful wake-up call, heard but not yet implemented, by the “civilized” world.
  93. A brilliantly honed tale of dementia, starring a skeletal Christian Bale as a tormented insomniac wasting away and terrorized by his irreal existence.

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