The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,097 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% 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: 60
Highest review score: 100 U2 3D
Lowest review score: 0 What Love Is
Score distribution:
7097 movie reviews
  1. As with most found footage films, there’s a lot of tediousness, with the early proceedings resembling the sort of home movies from which anyone not directly involved would normally flee.
  2. This low budget effort from director John Erick Dowdle and writer-producer-brother Drew Dowdle provides a few late scares after plenty of eye-rolling setup, with said scares due more to the heavy sound design than the action itself.
  3. 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.
  4. Not bad enough to be a guilty pleasure, but plenty bad nonetheless.
  5. A film as soul-sucking as any of the fang-baring bores who populate it.
  6. For those wearied by cliches about poverty, rote characterizations of minorities and shocks for their own sake, best to avoid "Cracktown."
  7. It is unlikely that a lot of viewers come to see a Step Up film for convincing dialogue or psychological insight into a group of young things trying to make it big in a ruthless industry. But there’s barely any humor that doesn’t feel third-rate and most of the plot threads are so thin that All In occasionally feels like a satire of a dance film.
  8. What's actually up onscreen in this vaguely ambitious but tawdry melodrama falls into an in-between no-man's-land that endows it with no distinction whatsoever, a work lacking both style and insight into the netherworld it seeks to reveal.
  9. A rom-com whose agreeable individual elements aren't enough to sell the witless contrivance around which they revolve.
  10. Thomason delivers a strong performance as the stalwart hero, and Furlong... makes for a highly convincing jerk. But their efforts aren’t enough to prevent the end of the world, at least as depicted here, from seeming awfully dull.
  11. Jonas is, it should be said, the most likeable thing about this watered-down noir.
  12. The ‘70s recreation is reasonable -- there are plenty of vintage cars and pop tunes of the moment -- but the characters never register beyond the surfaces of the scenes despite being equipped with long-festering resentments and grudges.
  13. The silliness of the conceit is far from the biggest problem in a picture that has no clue what to do with the wealth of talent in front of the camera.
  14. 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.
  15. Director Benjamin doesn't really handle the material with the outrageous excess it deserves, with the result that the proceedings seem far too mild.
  16. A paranormal mystery without a spine. It has no suspense because it has no belief in itself.
  17. 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.
  18. A grindhouse slasher picture that swings from dull to ridiculous without finding any pulpy pleasure in between.
  19. Absolutely Anything is a flabby misfire full of labored slapstick, broad caricatures and groaningly absurd plot twists.
  20. The result proves to be as appealing and effervescent as a flute of flat champagne.
  21. 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.
  22. Despite the world-changing ramifications inherent to the plot, the results are more tedious than thrilling.
  23. A laugh-starved comedy that seeks to plug into the comic stylings of Mo'Nique for its energy and humor.
  24. Loosely inspired by real events, the plot is time-scrambled and non-linear, hinting at Quentin Tarantino levels of post-modern playfulness that sadly never materialize.
  25. One of the unfunniest comedies ever. Punch lines are lifeless. Characters are borderline catatonic. Running gags can't even walk.
  26. Lead actor Johnny Simmons fits his role perfectly, his baby face giving him the suitable appearance of an overgrown adolescent. But the smutty, tired material with which he has to work is surprisingly devoid of laughs.
  27. This second feature based on a best-selling book by Jim Stovall is mainly repetitive in its themes and suffers from a melodramatic plotline and hamfisted execution.
  28. It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.
  29. This lame comedy about a big doofus who enters the fight game manages to take every cliche in the book and render them even more cliched.
  30. If the target audience for this film were any younger, they'd be embryos.

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