The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,474 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Unrelated
Lowest review score: 0 Your Highness
Score distribution:
5,474 movie reviews
  1. Uses dark humor, incisive characterizations and social commentary to infuse its familiar detective tale with a distinctive flair.
  2. Might be too realistic for its own good: The film takes perhaps a little too much glee in its abilities to manufacture mayhem. That being said, the ride is extraordinary.
    • 81 Metascore
    • 80 Critic Score
    It's a splendid microcosm of contemporary China's aspirations and shortcomings.
  3. Riveting.
  4. The film achieves its power through a careful gathering of crucial details, in wordless glances, cruelties of nature and of man and the relentless determination to gain the promised land.
  5. A crackling good suspense thriller.
  6. Here's a film about kids and for kids that has not lost touch with what it is like to actually be a kid.
  7. It plays like "Bonnie & Clyde" as made by a committee comprised of George Romero, Sam Peckinpah, Tobe Hooper, Sergio Leone and John Waters -- but Zombie still manages to inject a pervasive flavor all his own.
  8. A likable mix of laughs and wacky action sequences.
  9. Not merely a sitcom of cultural clash. Screenwriter Angus Maclachlan has delicately etched a compelling portrait of a way of life whose decencies and simplicities are often dismissed as being "unsophisticated."
    • 48 Metascore
    • 80 Critic Score
    Jakubowicz's direction is assured except in the film's final moments, when he makes a clumsy attempt at sociopolitical philosophy that is delivered by an omniscient narrator. It's an indulgence that threatens to undercut the ferocity that precedes it.
  10. An uncompromising portrait of how global capitalism can exploit an area's resources to the point of near annihilation.
  11. A newcomer to film, Michaletos grew up on a farm with cheetahs, so he can act natural around the animals while making this Huck Finn-like character more than credible.
  12. Has a demented sense of humor, and the cleverness of its taut narrative structure and misanthropic characterizations constantly surprises a viewer. The movie does what you wish more first-time features would do: tell a story economically with first-rate actors and no hint of self-consciousness.
  13. His (Fernando Meirelles) impressionistic, guerilla style of filmmaking works surprisingly well in capturing the hypnotic urgency of le Carre's fiction. And his viewpoint is less British and more Third World.
  14. Transporter 2 really does deliver the goods.
  15. Touch the Sound is at least as inspiring and in some ways more rewarding, thought-provoking and subtly visceral.
  16. Cage is brilliant.
  17. It's a typically poetic film, rich in powerful imagery, which sees a bitter personal tragedy unfold against the major events of 20th century Greece. Although the director doesn't mine any new ground here, either in terms of style or content, it's still a pleasure to sit through nearly three hours of perfectly controlled, visually evocative filmmaking.
  18. The story presents a moral morass involving betrayal, illicit sex, hypocrisy and a crime, yet the film feels tidy. Only one punch gets thrown, and you sense the perpetrator regrets his action immediately. It is all very British.
  19. Clever and fast-paced thriller.
  20. If "The Wizard of Oz" were reborn in the 21st century, it might look a lot like MirrorMask. A product of the Jim Henson laboratory, the film is endlessly inventive with creativity to burn.
  21. The movie rolls merrily along with slapstick action and whimsical characters.
  22. A riveting tale of survival and how even war cannot diminish a child's indomitable spirit.
  23. A prime example of a solid romantic comedy.
  24. A deeply personal, often wrenching documentary.
  25. A consistently amusing, often inspired family romp.
  26. The details are what matters, and thanks to a cast of all-star British elders and a mischievous sense of humor, the filmmakers bring those details to vivid life.
  27. Impressively realized on all levels, this transgender spin on the road trip boasts an extraordinary central performance.
  28. Rather than connecting all the chronological dots, Brown has fashioned Van Zandt's balm-to-the-brokenhearted legacy into potent cinematic poetry.
  29. Here is a film about Japan made by Americans, shot mostly in the U.S. and, of course, in English. Once you accept these compromises in the name of international filmmaking, none is a real deterrent to enjoying this lush period film.
  30. An absolute delight from start to finish.
  31. Jones displays a firm hand at the helm -- you sense that he is well within his comfort zone in this environment -- and performances including his own are lively and convincing.
  32. A smart and sophisticated comedy romp.
  33. This smart, aesthetically understated concert film from Jonathan Demme will transport Young's legions of baby boomer fans back to the future, as 1969 re-invents itself in 2005 for Young.
  34. A highly satisfying documentary tracking the hoop dreams of basketball bright light Sebastian Telfair as he made that rare leap from high school all-star to NBA draft pick.
  35. Disney may have written the book on live-action animal adventure stories, but it has been quite a while since there has been a chapter as terrific as Eight Below.
  36. The film is, above all, a moving portrait of hurting souls, brought to life in compelling performances.
  37. Rock solid performances by up-and-coming German actress Julia Jentsch as Sophie and Alexander Held ("Downfall") as Mohr along with an excellent cast of supporting players insure that no one mistakes this for a lifeless docu-drama.
  38. Brutal but believable, the film in some ways harks back to early Hollywood, when Jimmy Cagney or Richard Widmark played callow villains out of their depth in everyday life.
  39. Astonishingly powerful documentary about really, really hard work.
  40. The lovely, unpredictable comedy Duck Season marks the arrival of a fresh talent in writer-director Fernando Eimbcke. His script is vibrant with unforced humanist observations, the performances are natural and endearing.
  41. This tale of domestic abuse breaks little new stylistic or psychological ground, but it is a searing, well-acted drama that should strike universal chords.
  42. Powerfully moving but laced with incisive wit, Don't Tell has terrific performances with a wise tone and polished look.
  43. While political and social context is kept to a minimum, the darkly poetic images they capture speak volumes about what the miners go through.
  44. The mean streets don't get any nastier than the high school parking lots in this cool-crafted mystery.
  45. A pitch-perfect ensemble comedy that burrows deep into the mind-set of white, upper middle-class Angelenos, anxious to strike the right balance among career, family, love life and money but never quite pulling it off.
  46. The kind of drama that British television used to do so well, a well-constructed, smartly observed story of ordinary people learning how to communicate with one another.
    • 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.
  47. It is a grimly exciting film that is picturesque and brutal by turns.
  48. With Somersault, filmmaker Cate Shortland has expertly served up a vivid and touching tale, one told many times before, but in this well-realized mounting, one that sparkles with fresh awareness.
  49. A fascinating, mythological western.
  50. It might not be way up there in "The Incredibles"/"Finding Nemo"/"Toy Story" stratosphere, but the charming Cars is nevertheless a thoroughly pleasant way to mark Pixar Animation Studios' 20th anniversary.
  51. Director Bryan Singer positions this new film as a sequel to Donner's film, and his Superman -- played with winning fortitude by newcomer Brandon Routh -- is less a Man of Steel than a Man of Heart.
  52. A tough, compelling, must-see movie.
  53. A potent hybrid of passion and politics fuel this energetic and highly compelling documentary.
  54. Showing that there is both rhyme and madness to seemingly unfragmented everyday life, screenwriter-director Michael Haneke has created a pointillistic portrait of terror, presenting a number of tiny, mundane incidents that eventually enable us to connect the dots.
  55. A brainy blend of farce and heart, this is one of those movies that veteran moviegoers complain they don't make anymore.
  56. A rare, hilarious and ultimately touching look at the kind of American iconoclast that barely exists anymore.
  57. If there was ever any doubt, with Half Nelson, Ryan Gosling establishes himself as a major talent and one of the finest young actors around.
  58. Outstanding production values and mysterious subject matter give the film a surprisingly opulent feel for an independent Sundance entry.
  59. A smart, sharply observed, highly affable look at contemporary relationships that finally injects a little life in the stagnating genre.
  60. Fierce and tragic tale of lost hope.
  61. Particularly adept at chronicling the vague existential aimlessness of a segment of postcollege young adults, Bujalski manages to make his subjects seem simultaneously articulate and socially dunderheaded.
  62. 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.
  63. Buoyed by Gyllenhaal's hauntingly complex portrait of the vivacious but addictive Sherry, the film is no mere by-the-numbers chronology of addiction. Gyllenhaal's sympathetic and charismatic performance binds us to the horror of Sherry's personal demons.
  64. With an immediacy and intimacy that news reports can't provide, this deeply affecting documentary explores the pedophile crisis that has shaken the edifice of the Catholic Church.
  65. 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.
  66. Carnal, crazy and, most amazingly, heartwarming love story.
  67. Through interviews with Jonestown survivors and rare footage of Jones himself, this sober documentary presents an unforgettable historical portrait.
  68. While "Exorcism" focused on a murder-trial battle between the priest and a prosecutor, Schmid's film beautifully details the behavior, events and socio-religious pressures that lead to the decision to perform such an extreme ritual.
  69. The weapon wielded by Cohen and Charles is crudeness. People today, especially those in public life, can disguise prejudice in coded language and soft tones. Bigotry is ever so polite now. So the filmmakers mean to drag the beast out into the sunlight of brilliant satire and let everyone see the rotting, stinking, foul thing for what it is. When you laugh at something that is bad, it loses much of its power.
    • The Hollywood Reporter
  70. 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.
  71. What a relief to escape the series' increasing bondage to high-tech gimmicks in favor of intrigue and suspense featuring richly nuanced characters and women who think the body's sexiest organ is the brain.
  72. This animated all-penguin musical is terrific fun.
  73. The film is about vanity and pride, and the caging of beauty. Its elaborate fabrication has an intoxicating quality that captures the imagination like all good horror stories.
  74. Fascinatingly ambiguous tale and bizarre cast of characters make it one of the more entertaining documentaries in recent memory.
  75. Unlike the last Scott-Washington matchup, "Man on Fire," Deja Vu boasts a muscular, fast-forward story that won't be overwhelmed by Scott's need for speed in the form of rapid cuts and all that visual fusion that have become his stylistic trademark. Here, the approach is perfectly suited to the picture's time-shifting, multitasking structure.
  76. An eye-opener that handles its themes in a refreshingly nonexploitative manner.
  77. Unfolds in a scrupulously accurate historical adventure story that depicts the world of Jesus' birth with an exciting you-are-there verisimilitude.
    • 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.
  78. The guy knows how to make a heart-pounding movie; he just happens to be a cinematic sadist.
  79. If there is a disappointment, it is this: The anticipation may have exceeded the realization. It's a damn good commercial movie, but it is not the film that will revive the musical or win over the world.
  80. Blanchett gets everything right -- the accent, her German dialogue, the weary sexuality (deliberately reminiscent of Marlene Dietrich) and the amorality her character has embraced.
  81. With strong visuals and even stronger emotions, Rachid Bouchareb's Days of Glory makes a powerful war film about a particularly unique subject.
  82. While a bit unwieldy at nearly three hours and at times slow going, the film is absolutely fascinating for anyone who shares De Niro's passions.
  83. Owen carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down. Cuaron and Owen may have created the first believable 21st-century movie hero.
  84. The performers are all good with Baquero poised and beautiful as Ofelia and Verdu vital and spirited as the rebellious Mercedes. Lopez gives an extraordinary performance as the bestial captain, an irredeemable villain to rank with Ralph Fiennes' Nazi in "Schindler's List."
  85. An incredibly powerful story of renewal, commitment and the resiliency of the human spirit, this is a movie that should attract a large theatrical audience, and no one will go home disappointed.
  86. Combining the influences of Italian neorealism with Dickensian melodrama, Andrei Kravchuk's simultaneously tough-minded and sentimental The Italian is as bracing as it is moving.
  87. In this film, everything comes down to the acting. Chris Cooper, one of our finest screen actors, gets inside the mysterious traitor. Ryan Phillippe has just the right gung-ho determination tempered with a touch of naivete as O'Neill. Meanwhile, Laura Linney nails the role of a career agent.
  88. Although the story takes place during a tumultuous period, historical events never obscure the gaming genius' story. Rather it's a scrupulous examination of a somewhat naive intellectual.
  89. In American Me, Edward James Olmos has achieved several important goals, but one outweighs the rest: he has made a film that will scare the hell out of any inner-city youth not already lost to the hopelessness of gangs, drugs and prison. [9 Mar 1992]
    • The Hollywood Reporter
  90. It doesn't exploit our emotions about Sept. 11; it simply tells a story that exists because of what happened that day -- one that should resonate with a wide, appreciative audience.
  91. The actors, all strong, give the lyrical but never artificial dialogue the ring of life. Pearce is riveting as a go-getter who finds himself trapped between a murky past and a future defined by ambition.
  92. A movingly rendered, stirringly photographed first feature by Ham Tran.
  93. Women's roles and the eternal fight to expand their rights in Iranian society get a light, hugely entertaining treatment in Jafar Panahi's Offsides.
  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. Once again Bier demonstrates just how misleading appearances can be, as she artfully removes the veneers concealing the dark truths locked away by her intriguing characters.
  96. Entertaining and piquant. The film does possess some of the bittersweet qualities that usually mark Hallstrom's films, but it's generally a tougher, more incisive work that ranks as one of his best.

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