The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,840 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Land of the Dead
Lowest review score: 0 Dirty Love
Score distribution:
7840 movie reviews
  1. Focused much more intently on video journals Gleason made as his illness progressed, the film both documents his rapid physical decline and ponders the many existential issues it raises — especially for a married couple expecting their first child in a few months.
  2. Chadwick strikes a perfect balance between humor and tragic gravity, and the result is that an unknown story seems certain to stir the hearts of audiences worldwide.
  3. If the movie runs long in places, the vibrant performances from Worthy and the rest of the cast help push things ahead to the grand finale, and there are enough dynamo battles from start to finish to keep hungry rap fans satisfied.
  4. Working from a snappy but never snarky screenplay by first-timer Shelby Farrell, helmer Freeland (Drunktown’s Finest) maintains a strain-free upbeat energy yet keeps the action rooted in a strong sense of place and class.
  5. An absolute delight from start to finish.
  6. Barry emerges as an involving and credible portrait of a smart young man with a good deal of growing and learning yet to do.
  7. Herzog's strangely beautiful film has marvelous music and hypnotic imagery. A documentary for stoners and people who are that way naturally, it is a cautionary tale for wishful thinkers.
  8. The film is a textured portrait of human beings and the jobs they do, offering scant commentary but much to chew on, not to mention plenty of laughs -- no small feat in a movie dedicated to something as dry sounding as “public radio.”
  9. The film is imbued with an engaging mix of warmth and prickliness by the lovely, lived-in performances of Jim Broadbent and Lindsay Duncan.
    • 67 Metascore
    • 80 Critic Score
    As violent, amoral and misanthropic as a Jacobean play, Outrage is Takeshi Kitano's first yakuza flick since "Brother" (2000), and arguably his best film in a decade.
  10. Without becoming a screed for victims' rights, the riveting film shows how in the face of terrible events a grieving parent is galvanized into activism.
  11. Being Evel is a warts-and-all portrayal of a man whose ambition and need to be in the spotlight was both a positive and a negative. His insatiable appetites – liquor, women, attention – were parts of his personality that fueled his downfall.
  12. Cooper seizes control of the movie when he’s onscreen, but the two young leads are also enormously appealing.
    • 89 Metascore
    • 80 Critic Score
    Starts out dark and challenging then comes to a startlingly satisfying and warmly human conclusion that lingers long after the curtain has come down.
  13. The comedy of errors surrounding the 11 years (and counting) efforts to rebuild the devastated Ground Zero site would be funny if it weren't so tragic. Filmmaker Richard Hankin manages to encompass both aspects in 16 Acres, his strikingly coherent documentary chronicling the tortured process.
  14. The Salt of the Earth doesn’t reveal so much as gracefully confirm that the empathy and humanism that make Salgado’s photojournalistic work so special are also a part of the artist’s outlook on life.
  15. Pacino gives a keenly measured performance, leading an excellent British cast through their paces in a richly colorful production that should please selective audiences and adds to the list of major film adaptations of Shakespeare's work.
  16. A really terrific, intensely focused documentary on a fascinating personality.
  17. It took three films, but The Twilight Saga finally nails just the right tone in Eclipse, a film that neatly balances the teenage operatic passions from Stephenie Meyer's novels with the movies' supernatural trappings.
  18. While political and social context is kept to a minimum, the darkly poetic images they capture speak volumes about what the miners go through.
  19. Working with a terrific cast — first-timer Nero is a real discovery — Muylaert makes all the traumatic twists in the story feel both natural and almost casual at times, as if we’re watching everyday people whose lives have suddenly been transformed into a telenovela plot.
  20. Ra'anan Alexandroricz's documentary uses a simple framework - a starkly photographed series of interviews with nine retired judges and lawyers instrumental in administering the often arbitrary laws - to deliver a provocative examination of the nature of justice.
  21. Park's unsettling visuals and his handling of the cast make the occasional holes in Wentworth Miller's script practically irrelevant.
  22. Graduation isn’t one of Mungiu’s finest, but even a restrained, emotionally measured work like this is more interesting and provocative than many another director’s best effort.
  23. The director and screenwriter downplay the conventional melodrama inherent in the situation in favor of emphasizing how practical problems should be addressed with rational responses rather than hysteria, knee-jerk patriotism or selfish expedience.
  24. Well-made and acted Coen Brothers remake lacks the humor and resonance that might have made it memorable.
  25. Despicable doesn't measure up to Pixar at its best. Nonetheless, it's funny, clever and warmly animated with memorable characters.
  26. A thoroughly engaging film about an inimitable New York painter.
  27. With strong visuals and even stronger emotions, Rachid Bouchareb's Days of Glory makes a powerful war film about a particularly unique subject.
  28. German Concentration Camps Factual Survey is a time capsule as much as a direct historical document, showing not only what the Allied Forces found when they first arrived at the Nazi concentration camps but also how the British government of the time thought it was appropriate to communicate about the Nazi atrocities.
  29. This surprising collaboration between director Clint Eastwood and "Milk" screenwriter Dustin Lance Black tackles its trickiest challenges with plausibility and good sense, while serving up a simmeringly caustic view of its controversial subject's behavior, public and private.
  30. Once again, Reeves does not disappoint, fully inhabiting Wick by channeling his rage over life’s injustices into an intensely focused performance.
  31. Finding smart ways to bring novelty to the franchise without forsaking what made the original so much fun (and in fact doubling down on some of those qualities), Barry Sonnenfeld's Men in Black 3 easily erases the second installment's vague but unpleasant memory and -- though we might hope producers will quit while they're ahead -- paves the way for future installments.
  32. While this is fascinating material, it's the flawed human behavior it exposes that makes the story so compelling. And yet what elevates Marsh's film is the even-handedness of his perspective.
  33. Co-directors Nicholas Stoller and Doug Sweetland deliver big time with Storks, a fittingly buoyant, delightfully madcap animated romp.
  34. Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress.
  35. The excellent film combines a wealth of archival material with the reminiscences of an unforgettable group of octogenarian women who were champion swimmers when Hitler annexed Austria in 1938.
  36. Fury is a good, solid World War II movie, nothing more and nothing less.
  37. Featuring generous doses of raucous humor as well as a haunting atmosphere of dread as Tommy and Rosie’s exploits prove increasingly dangerous, Rob the Mob is a true-crime tale that boasts an uncommon emotional resonance.
  38. Scorsese has crafted a rip-roaringly gorgeous-looking, beautifully acted biographical epic. But while firing on all cylinders, there's something oddly distancing about the picture.
  39. In Porumboiu’s movies, what you see is never what you get, and there are riches to be had if you just keep looking.
  40. The movie is filled with small moments of tenderness, insight and considerable wisdom.
  41. Instantly proves itself an invaluable historical document. Shot verite-style with no narration, soundtrack or other embellishments, Tahrir: Liberation Square simply depicts the events of late January and early February 2011 with a vital immediacy.
  42. As it sheds light on these women’s experiences and the larger issue of homelessness among female vets, the film grows deeply engaging.
  43. Infusing its nightmarish scenario with bracing doses of satirical humor, Tunnel is smarter and more sophisticated than most Hollywood attempts at the genre.
  44. Turning away from his highly entertaining epics "Hero" and "House of Flying Daggers," Zhang Yimou goes for utter simplicity in Riding Alone for Thousands of Miles, a film of much distilled wit and wisdom.
  45. A trove of great stills and movie footage accompanies the colorful anecdotes, but the film's most consistent pleasure is the way interviewees recall the moments before the tape rolled on an immortal recording.
  46. The new "Freaky" plays the obvious gags in ways both surprising and imaginative.
  47. Kim Ki-duk keeps dialogue to a minimum and actions simple in what is virtually a two-character piece. Humor arrives organically, often resulting in hearty laughs.
  48. In his first narrative feature, documentarian Nitzan Gilady demonstrates an assured grasp of visual storytelling, using a stunningly rugged desert setting that’s as much a character as the film’s perpetually sunny, intellectually challenged 24-year-old and her world-weary mother.
  49. Most notable for its evocative photography of the bleak Oklahoma landscapes and for the memorable turns by its two leads, who bring a haunting, world-weary gravitas to their performances that feels utterly authentic.
  50. Elegant and unsentimental, this is a minor-key, wintry ensemble piece with an emotional hold that sneaks up on you.
  51. The film repays patient viewing as it evolves into an engrossing, nuanced, philosophical drama.
  52. Fulfills the requirements of grand-scale moviemaking while serving as a timely reminder that in the conflict between Christianity and Islam it was the Christians who picked the first fight.
  53. A few bumpy patches notwithstanding, the new feature is an exquisitely designed, emotionally absorbing work of dark enchantment.
  54. Smart, visually appealing, and consistently engaging.
  55. Another charmingly eccentric exercise in meta-fiction from Portugal's offbeat new directing star Miguel Gomes, Tabu chooses to explore its characters without following narrative rules, or rather, by reshuffling hackneyed tropes from film and novels to turn them into strange, modern entertainment.
  56. Audacious, confident and fueled by youthful energy.
  57. A pungently immersive evocation of traveling on Chinese trains.
  58. The film yanks the viewer to attention with its keen sensitivity to the rough winter conditions and limited prospects faced by the locals. It also features one of Jeremy Renner’s best recent performances, but does fall into some traps when it ventures into Tarantino and Peckinpah territory.
  59. A well-made and entertaining descent into a black-comic hell.
  60. In the revisionist Marie Antoinette, writer-director Sofia Coppola and actress Kirsten Dunst take a remote and no doubt misunderstood historical figure, the controversial and often despised Queen of France at the time of the French Revolution, and brings her into sharp focus as a living, breathing human being with flaws, foibles, passions, intelligence and warm affections.
  61. By contrasting what the investigators are trying to uncover with the youthful adventures of the children, Dumont seems to suggest that the world of adults, despite appearances, is so rotten that it can only be stomached and perhaps even saved by two things: laughter of the tragicomic kind and a child-like innocence that somehow needs to be maintained into adulthood.
  62. The secrets revealed here are not quite as shocking as the hints of child molestation captured in "Friedmans." Still, this is an equally intriguing and unsettling look at the turmoil hidden behind the white picket fences of suburbia.
  63. Allen turns the character into a tour de force that unleashes an unexpected comedy about compassion and self-loathing.
  64. An elegant meditation on one of the most distinctive bodies of work in contemporary art.
  65. A highly enjoyable look at a career spent duping the art world.
    • 64 Metascore
    • 80 Critic Score
    The best Australian film to hit local screens in more than a year. Although lacking any internationally renowned actors to win more than limited release, the film's energy and stylistic daring mark it as a true original.
  66. An affecting emotional journey as well as a telling example of how the fortuitous intervention of social media continues to reshape lives in unexpected ways.
  67. A polished, finely acted tale of love and class in the south of France.
  68. If the feature film reached for, and often failed to achieve, great emotions to match its imagery, the non-contemplative Imax Experience seems even farther from this goal. Vastness and infinity are all fine and good, but the beauty of the universe tends to feel monstrous and inhuman without an element of human chaos to counterbalance it.
  69. Gerard Johnstone, a first-time writer-director from New Zealand, demonstrates a sly command of deadpan humor along with an assured grasp of seasoned horror tropes.
  70. Anyone looking for subtlety, character development or layered plotting will be disappointed, but action fans will find plenty to amuse them with this film that makes "Hard-Boiled" look restrained.
  71. With fierce arguments, often drawn on partisan lines, raging across the country, The Lottery will be of vital interest to anyone interested in the topic, especially the parents of young children.
  72. With all farces, timing and rhythms are absolutely crucial and Zulawski — working with editor Julia Gregory — maintains a disarming brio from the very first seconds.
  73. Strong, entertaining portrait of a hard-to-pin-down online phenomenon.
  74. Shari Springer Berman and Robert Pulcini's Ten Thousand Saints offers both a premise and a setting ripe for nostalgic sentimentality but indulges in little of it.
    • 78 Metascore
    • 80 Critic Score
    Wholly one-third of the country, some 11 million people, watched the finale. Marking's film is too astute to pretend that such fleeting things can bring about peaceful democracy, but it's also perfectly aware that they certainly can't hurt.
  75. Funny, fascinating, and packing a surprisingly poignant twist, the doc will get plenty of free publicity and, for unsqueamish moviegoers, will live up to the hype.
  76. Rising well above the typical making-of feature, the documentary will fascinate buffs when shown alongside the operas themselves.
  77. Funny, bitter and sometimes bleak, the picture draws much of its appeal from a deadpan performance by star Matti Onnismaa.
  78. Fugitive Pieces has a sharp, devastating story to tell.
  79. Past lives and ancient ancestors are evoked through conversations that are both cryptic and oddly matter-of-fact, in a work that has the realistic vibe of a documentary but the unearthly qualities of a sustained reverie.
  80. Making a convincingly assured feature debut, TV and web series writer-director Carey's script nails the raunchy-sweet tone required to bring off this R-rated teen-centered comedy with remarkable charm and relatability, mining a rich vein of girl-centered sexual curiosity and experimentation "loosely inspired" by personal experience.
  81. Elizabeth Olsen steps onto the radar as a seriously accomplished actor in this mesmerizing drama, which also marks an assured feature debut for writer-director Sean Durkin.
  82. Taken strictly on its own terms, Saving Mr. Banks works exceedingly well as mainstream entertainment.
  83. The director also pulls career-high performances from Mezzogiorno and Timi that are, respectively, tragic and mesmerizing.
  84. The fact that a genre entry of this nature, with no intrinsic need of being philosophically nuanced, goes out of its way to endow even its ostensible villains with comprehensible motives rates as a notable achievement.
  85. After building up a narrative head of steam, the film relaxes too much back into expository documentary form. What might have been thrilling is merely entirely engrossing.
  86. What distinguishes it are its intelligent, unsentimental screenplay, which only occasionally lapses into emotional manipulation; the assured direction by Yukihiko Tsutsumi; and the superb acting.
    • 64 Metascore
    • 80 Critic Score
    It's an unforgettable, visceral journey into the heart of darkness.
  87. Amiel's greatest achievement is that Creation is a deeply human film with moments of genuine lightness and high spirits to go with all the deep thinking.
  88. As much as Don't Think Twice focuses on professional envy, though, it remains a love letter to this weirdo art form called improv.
  89. Although not exactly breaking any new ground with its by now all too familiar found-footage format, Paranormal Activity 3 hews to the formula in expertly crafted fashion, mustering up the requisite scares and then some.
  90. Entertaining and even poignant.
  91. Moving historical drama brings a fascinating chapter of art history to life.
  92. Unfolding like an espionage thriller but with a methodical journalistic skill at organizing a mountain of facts, the film raises stimulating questions about transparency and freedom of information in a world in which governments and corporations have plenty to hide.
  93. The experiences and challenges of the rural poor might make it into the national conversation as an abstraction, but rarely with the specificity of this intimate portrait of a black community.
  94. The blissfully silly Blades of Glory is one of those rare comedies that puts a goofy smile on your face with the premise alone -- and keeps it planted there right until its wacky finale.
  95. The directors never lose sight of the struggles and the hard work that go along with his calling.

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