The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,418 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: 60
Highest review score: 100 District 9
Lowest review score: 0 The Do-Over
Score distribution:
7418 movie reviews
  1. A curious film with real heart but questionable technique. This art house fodder is just quirky and fresh enough to catch on with audiences.
  2. Live By Night is solid enough entertainment, but it lacks the nasty edge or narrative muscularity to make it memorable.
  3. As the psychodrama of a lonely woman with a score to settle acquires seriousness it saps the misanthropic sense of mischief and madness, causing the movie to lose its way.
  4. More character study than sports movie, the people in this film come across very much as flesh-and-blood personalities despite the script's tendency to indulge in cliches and let characters deliver highly emotional speeches.
  5. Compensating for its less than convincing special effects with some intriguing plot twists and bracingly nihilistic situations, The Human Race is a reasonably compelling low-budget genre item.
  6. A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.
  7. At once understated and slightly pulpy, the film comes down squarely on the side of compassion. It’s no polemic, but neither is it as character-driven as it aims to be.
  8. Solid and informative... the affectionate film benefits from plenty of face time with its frank, amiably plain-vanilla subject.
  9. Tigers shares a penchant for rigorous self-analysis with such relatively recent films as "Chumscrubber," "Mysterious Skin" and "Tarnation."
  10. Incident at Loch Ness manages to cross "Project Greenlight" with "The Blair Witch Project" in a way that makes one pine for the originals.
  11. It contains all the elements from the original film...But that's the problem: It's virtually the same movie with new locations. Oh, plus Helen Mirren. Not a bad addition, but the popcorn fun is gone.
  12. Cross "Body Heat" with "No Way Out" and you wind up with Out of Time, a slick crime melodrama with more style than substance.
  13. Central Intelligence demonstrates an above-average interest in story and character, and tries, if not always successfully, to craft real comic situations and action sequences. It's been made with a certain level of polish and professionalism. And it capitalizes on the chemistry between Hart and Johnson.
  14. Fanny is definitely a worthy companion to Marius, although it’s also more claustrophobic in terms of staging, confining the action to a handful of interior sequences that feel less like a movie than like filmed theater, albeit of a rather high order.
  15. If you must make another entirely predictable comedy about an unapologetic old white curmudgeon who steamrolls all opposition, you can't do better than draft the redoubtable Shirley MacLaine to keep audiences in her barbed corner while we wait for her inevitable bittersweet humanization.
  16. The winning performances by its two leads elevate this contrived Israeli import.
  17. Morbidly fascinating Swedish doc about Berlusconi's Italy hits the mark.
  18. Only God Forgives is a hypnotic fugue on themes of violence and retribution, drenched in corrosive reds.
  19. The overall result remains quite light, is occasionally funny but finally never manages to probe very deeply.
  20. At its worst, the film oozes the sickly smugness of a self-help pamphlet, but when it relaxes its didactic grip and lets the actors take control it can be quite charming.
  21. Falling somewhere between the X Games and Jackass on the Knievel Scale of Senseless Self-Endangerment, the crew known as Nitro Circus offers more physical and technical prowess than Johnny Knoxville's crew without stooping to anything so disciplined it might accidentally be called a sport.
  22. Manages to retain a certain goofy appeal thanks to the stand-up efforts of its comically adept cast members.
  23. While the film bristles with cinematic verve, it also is as second-hand as an antique store.
  24. An explosive family drama whose intense performances can't always compensate for such a heavy-handed scenario, Bad Hurt nonetheless marks a promising directorial debut from playwright Mark Kemble.
  25. Director Takashi Shimizu chooses cruel psychological suspense over gore and succeeds in spinning a minimal plot into a panorama of malice.
  26. Though it doesn't quite hit the target, Plotnick's vision of the future of the past is peculiar enough to resist quick dismissal.
  27. The film feels empty and intellectualized at the core, where it should feel powerfully emotional.
  28. Cogent documentary makes the persuasive argument for the role that U.S. military and corporate interests have played in the influx of immigration from Latin American countries.
  29. Attaining somewhat of a bad parody of a comedy, screenwriters Andrew Fleming and Pam Brady have slapped together a string of gags in a hit-and-miss dither. Some of it is quite brainy.
  30. Thomas’ direction, especially of the villainous roles, gives a lot of the action a self-conscious, not-quite-real quality. Some aspects of the movie’s intentional artifice work better than others.
  31. Fortunately, the terrific lead performances by Jonathan Pryce and newcomer Jerome Holder are enough to help Dough rise above its formulaic ingredients.
  32. Meredith has woven together a half-dozen portraits of contemporary lives-on-the-edge in this quietly searing drama.
  33. Taylor does capture the Jim Crow era and its anxieties well, but his characters tend toward the facile and his white heroine is too idealized.
  34. Its undiscriminating focus, accepting artists whose degree of talent varies widely, may not help it with audiences seeking a fine-art doc, but many viewers will appreciate that very quality, enjoying this modest effort's celebration of a bootstrappy creative community.
  35. A Life in Dirty Movies is still a sweet and illuminating journey into cult cinema history, but it would have been more honest and psychologically rich if it had shown us the money shot.
  36. That it all works to the extent that it does is due to its undeniably sweet depiction of a close-knit extended family whose members truly care for and help each other. It's cinematic wish fulfillment in this era of broken families and far-off relatives who keep in touch via social media.
  37. Traded features nary an original element but nonetheless registers as a solid if minor oater.
  38. A stylishly made but unyielding drama.
  39. Although it’s clear that her dauntingly complex personality contributes to her abilities as a superior storyteller, Feuerzeig and Albert now ask us to believe a proven unreliable narrator’s account of her own life, which largely lacks corroboration.
  40. Escalante struggles to illuminate how sex and violence are connected and what this, in turn, means for more specialized types of aggressiveness and oppression, such as misogyny and homophobia.
  41. A more accomplished film than "Yards." Yet it will fail to satisfy police movie buffs, as procedures are de-emphasized, and the drama is too perfunctory and obvious.
  42. Despite a warmly interacting cast that includes Jennifer Ehle as Emily’s sister and Keith Carradine as her lion-maned, lionized father, and a valiant effort on the part of Nixon and Davies to externalize the poet’s inner demons in emotional, high-tension scenes, the film can’t escape an underlying static quality that extinguishes the flame before it can get burning.
  43. The documentary will nonetheless strike an emotional chord with anyone who's grown up eating the product it celebrates. And over the course of 100 years, that's a lot of matzos.
    • 56 Metascore
    • 60 Critic Score
    It's the kind of rollicking rebel-chick flick that should score well in venues that appreciate Quentin Tarantino films.
  44. Expertly acted, impeccably photographed, intelligently written, even intermittently touching, the film is also too parched and ponderous to connect with a large audience.
  45. The story is rich in juicy anecdotes and epochal events, even if the man behind these striking images remains a little too elusive throughout.
  46. Character eccentricities and off-kilter group dynamics play out with a comic vengeance.
    • 43 Metascore
    • 60 Critic Score
    Shot on location in vibrant Cartagena, the film's strong suit is aesthetic. Cinematographer Alfonso Beato, designer Wolf Kroeger and costume designer Marit Allen evoke aged exotic locales, rugged rural settings and dimly lit period interiors. A closing, aerial image has a breathtaking, spiritual beauty.
  47. Diverting but not enough to expand Kevin Hart's fan base much.
  48. Klinger is clearly aiming at a hardcore of filmmakers and cinema students, but even that niche audience will only glean incomplete insights into the methods and motivations of his subjects.
  49. Baby Boom serves up plenty of smart, knowing laughs early on, but by the time it hits the third act (or would that be trimester?), it barely crawls to the finish line.
  50. Walken is the main attraction here; though the film identifies more with the wayward daughter, played by Amber Heard, it doesn't make her nearly as interesting as his name-dropping, spotlight-hogging entertainer.
  51. Lacks the urgency and significance of a great docu but still offers a diverting entertainment.
  52. The most affecting scenes, however, involve the class of Israeli teenagers visiting Auschwitz.
  53. Enough goodwill has been built up in the early sections that most viewers will not take offense when the movie abandons its plot and characters.
  54. The powerful turns don’t necessarily build towards a satisfying conclusion, in a film that starts off strong but can’t always decide whether it wants to keep it real or give viewers the sort of movie moments found in less-inventive dramas.
  55. The film boasts enough manic energy and straight-up weirdness to keep you entertained before overstaying its welcome in the final act.
  56. Will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular.
  57. The film is by no means terrible -- its two hours and 32 minutes running time races by -- but those things we think of as being Tarantino-esque, the long stretches of wickedly funny dialogue, the humor in the violence and outsized characters strutting across the screen, are largely missing.
  58. While lacking the technical polish necessary to lift it into a more elevated cinematic dimension, Philip T. Johnson's directorial debut earns points for its thematic ambitions and cheeky wit.
  59. Jamie Linden's minor-key serio-comedy pulls us in eventually, delivering its share of poignant insights and melancholy reflections, even if it does all feel a tad familiar.
  60. Nalin and cinematographers Anuj Dhawan and Swapnil Sonawane do an admirable job profiling the experiences of their selected subjects, although some trimming of the 115-minute runtime would help tighten the narrative focus.
  61. Likeably shaggy, it has arthouse appeal and a winning cast.
  62. Few would fail to be touched by these stories, or by the sight of these men having generations of kids and grandkids gather to celebrate their accomplishment.
  63. The familiar formula feels significantly watered-down the third time around.
  64. The film will still prove a tonic to those holding left-of-center views.
  65. A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.
  66. With its clever premise and quartet of appealing comedic star turns, Wild Hogs is a step above the typical comedies rolling off the assembly lines of the major studios.
  67. Though convincing in its (not exactly obscure) point that something needs to be done, and occasionally enlightening, Price suffers in comparison to the earlier film, with points that are often not adequately explored and decorative flourishes that distract instead of enhancing.
  68. XX
    The package mixes existential creepiness with black comedy, demonic carnage and a Satan's spawn scenario, and while it's uneven — as these combos invariably are — genre enthusiasts looking for a female spin will want to check it out.
    • 36 Metascore
    • 60 Critic Score
    The good news is that the movie is half decent. The caveat is that it could have been a lot better.
  69. Writer-director Larry Blamire has clearly done his homework, and his playful cast nails the requisite acting-so-bad-it's-good pitch.
  70. A likeable cast of relative newcomers buoys the film, which never quite finds the sweet spot.
    • 35 Metascore
    • 60 Critic Score
    Although the film is a routine thriller with few surprises, it deserves attention because its topic, even eight years after Sept. 11, is one that many South Asian Americans still take very seriously.
  71. The real problem is that Brugge and Haythe fail to satisfactorily pull off either the thriller or the marital deconstruction.
  72. As an introduction to this mind-spinning festival, the film gets the job done.
  73. To Be Takei follows multiple threads without pulling any one of them satisfyingly into focus, making it amusing and even poignant, though not quite the window into its subject's life that it might have been with a more penetrating observer.
  74. The film lacks Hong's usual insight and narrative innovation. It occasionally even feels self-indulgent.
  75. This is a hand-me-(dumbed)-down chick flick that is counting on Kutcher's tabloid popularity and Peet's unmistakable though here underutilized talents to cover up for rote characterizations, tired plot devices and a general lack of inspiration.
  76. Much of the naval action is realistically and thrillingly staged with blazing cannon fire and slashing swordplay that sufficiently diverts attention from the sometimes unrealistic special effects.
  77. There's a good deal of pleasure to draw from some of these bonding moments, especially among vets who haven't seen each other for years, but not enough to justify overshadowing the movie's other elements.
  78. Creadon's doc benefits substantially from these kids, resulting in a film with modest commercial appeal that should have a healthy video afterlife with activism-minded students in college and graduate programs.
  79. A pleasant if pedestrian British romantic comedy.
  80. Delivering a fully committed, moving performance, Thomas Haden Church makes you pay attention to a figure you would otherwise pass by without a second thought.
  81. Neither as breezy nor as edgy as it pretends to be.
  82. While only sporadically effective in its attempt at creating a modern-day Psycho, Forgetting the Girl does manage to sustain a sufficiently disturbing mood that is not easily forgotten.
  83. Building on a string of B-movie action titles like Assassin’s Bullet and Ninja, martial arts veteran Florentine doesn’t need any schooling on running an efficient and energetic production.
  84. Chases romance and comedy across Europe for nearly two hours without ever quite catching either. Essentially a teenage rendition of William Wyler's immortal "Roman Holiday."
  85. Doesn’t exactly dig very deep, but its often fascinating archival footage and stories of royal lineage dating back to the days of Queen Victoria (who bore no less than nine children) surely will delight devoted Anglophiles.
  86. Supernatural shenanigans and amateur sleuthing add up to mild-mannered entertainment in Jackson Stewart’s affectionately quirky directorial debut.
  87. Pusher struggles to rise above standard drug dealer/gangster fare and succeeds, but only in part, thanks to its strong cast lead by Richard Coyle.
  88. Promised Land presents its environmental concerns in a clear, upfront manner but hits some narrative and character bumps in the second half that weaken the impact of this fundamentally gentle, sympathetic work.
  89. It’s a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal meth-like narcotic high that lasts about two hours. Only once viewers have come down and digested it all might they feel like the whole experience was actually a little bland, lacking in depth and so effervescent as to be almost instantly forgettable.
  90. The film's Italian director does achieve in his second American outing a pleasing blend of Hollywood professional sheen and European sensitivity to character details and nuances.
  91. Rodrigo H. Vila’s documentary about the famed Argentine singer and political activist suffers from its overly insular and hagiographic perspective, but in its best moments it well illustrates the reasons for her musical influence and social importance.
  92. Contains enough fascinating archival footage to make it worthy of interest.
  93. There are some fascinating cracks in his constantly upbeat personality that Rice manages to smuggle in. A little more of this material, or at least a little more carefully edited and juxtaposed with the rest, might have made the film less of a valentine for Oakley fans and more of a fascinating behind-the-scenes look at a relatively new phenomenon in general and this "personality" in particular.
  94. An eye-opening sociological examination that is alternately moving and tedious.
  95. The film reveals the influence of director/co-writer Werthman's profession because it adopts a highly clinical and thoughtful rather than exploitative turn. Although at times one wishes for a little more heat, of both the dramatic and erotic variety, there is an admirable intelligence and restraint on display.
  96. Although its formulaic storyline...holds no surprises, the film nonetheless exerts a certain charm.

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