The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,098 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 Kinsey
Lowest review score: 0 The Human Centipede (First Sequence)
Score distribution:
7098 movie reviews
  1. It ultimately devolves into yet another rote horror film that in this case lives up to its name by also being seriously underlit.
  2. Wearing its multiple influences heavily on its sleeve, Monday at 11:01 A.M. is too déjà vu for its own good.
    • tbd Metascore
    • 30 Critic Score
    Adolescent angst is the focus of Accidents Happen, a turgid melodrama based loosely on Brian Carbee's autobiographical book and one-man theater piece.
  3. This tonal mess rarely puts a foot right as comedy and makes only marginal improvements when it turns poignant toward the end.
  4. Director Andrzej Bartkowiak ("Romeo Must Die") works hard to supply the appropriate grittiness, but other than a few reasonably well-staged fight sequences, the proceedings are dull and visually uninspired. Justin Marks' solemn screenplay lacks any trace of wit.
  5. Full of overwrought campery and vicious drag queens, K-11 feels in places like a deranged John Waters remake of "The Shawshank Redemption."
  6. All the while, the music screams and clamors like an ignored child because director Xavier Gens and writer Skip Woods can't pump suspense into this inept mess.
  7. A run-of-the-mill crime drama that toes the risibility line on several occasions, even if it’s better made than your typical straight-to-video movie.
  8. If you’re going to make an ultra-naturalistic, two-character, walking-and-talking romance that tips its hat to Before Sunrise, the film that began Richard Linklater’s exquisite trilogy, then it’s best to avoid a script loaded with contrived situations and overwritten dialogue.
  9. An alien invasion flick that evidently expects dramatic shots of a depopulated Red Square to make up for a flatlining screenplay and the absence of even a single compelling character.
  10. Infusing its generic horror tropes with vaguely satirical aspects, the film doesn't really work on either level. Unintentionally campy (or purposely, it's hard to tell) and marred by ridiculous plotting and dialogue, #Horror is mostly just a horror.
  11. Dirty Deeds is as feeble as a teen comedy can get.
  12. Every word of the story may be true, and if it happened to someone you knew, you'd be captivated. In Jamesy Boy, though, it's hard to see why we should care.
  13. Screenwriter Adam Chanzit and director Gabriel Cowan don’t have the same flair for eloquent dialogue or vivid character creation. Instead they offer a lot of turgid exchanges filled with regret and recrimination.
  14. Everything is spelled out literally and at a stultifying pace, in a story that might have worked onscreen as either heightened melodrama or farcical comedy. Instead Fontaine, who is not exactly blessed with a light touch, opts for misplaced sincerity.
  15. The writing is rudimentary and the direction often awkward, but Mo'Nique would confound a veteran director.
  16. No one on the creative side has his eyes on the characters, so they flounder in a sea of misguided energy.
  17. It's a good thing that forgiveness is a predominant theme of Woman Thou Art Loosed: On the 7th Day, because viewers will have to look deep into their hearts to forgive this kidnapping drama for its heavy-handed melodrama and tawdry plot elements.
  18. The overwrought, uncontrolled sci-fi thriller Automata is a disappointing example of a film which lacks the imagination to follow persuasively through on its engaging initial premise.
  19. A "non sequel" to Alex Cox's 1984 classic "Repo Man," the crazily plotted and deliberately garish Repo Chick only serves to provide further evidence of the cult director's diminishing talents.
  20. The lameness of the gags and dialogue and the film's frequent deep dives for the bottom at the expense of real comedy speak to desperation in Hollywood to figure out the audience for contemporary naughty comedy.
  21. It's all largely incoherent, with the screenplay's twists and surprise revelations having an utterly artificial feel.
  22. The film rings false at almost every turn despite its naturalistic performances. Lacking emotional substance, it comes off as far too studied in its subdued intensity.
  23. The action that follows is as broad and unconvincing as the characters involved: director George Ratliff manages to turn even dignified Ciaran Hinds into a ham.
  24. A Strange Brand of Happy is being billed as a “faith-friendly romantic comedy,” but its overall ineptness has the inadvertent impact of making you lose faith in romantic comedies altogether.
  25. Jewtopia feels like a failed sitcom pilot that might have been created by Jackie Mason.
  26. Derivative and otherwise lacking in originality, the film which features enough gratuitous nudity and violence to satisfy the genre crowd is a strictly by-the-numbers affair that probably won't be filling the multiplexes in Salt Lake City.
  27. Director/screenwriter Stuart Beattie, adapting the graphic novel by Kevin Grevioux, employs a strictly humorless, gothic approach to the material that makes one long for the satirical touches of James Whale, let alone Mel Brooks.
  28. What's most remarkable about this big, dumb exploitation movie is how carefully anything approaching psychological texture appears to have been peeled away.
  29. Sometimes, deadpan observation of the mundane isn't Jarmuschian. Sometimes it's just dull.

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