The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,144 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% 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 Best of Enemies
Lowest review score: 0 What Love Is
Score distribution:
6,144 movie reviews
  1. Anyone who has seen the original knows exactly where things are heading, with the result that the proceedings seem far more manipulative than unnerving.
  2. Though its even-tempered account may be more thorough than print and TV coverage at the time, the doc doesn't offer anything dramatic enough to draw many eyeballs at this late date.
  3. Ultimately suffers from an uneven execution and repetitive overload.
  4. Unfortunately, the film itself -- though it contains some superbly staged and highly lavish action sequences -- lacks the tautness of its heroine.
  5. Unfortunately, the Collector simply isn't a very interesting screen villain. Clad in a black mask that reveals only his eyes and mouth, he mainly communicates by heavy breathing. It makes one yearn for the perversely witty chatter of Jigsaw.
    • 52 Metascore
    • 50 Critic Score
    With Made-Up, the sisters Adams and Shalhoub (who is married to Brooke) have taken a playfully irreverent approach to middle-age rites of passage that comes with many opportunities for the performers to self-consciously "act."
  6. Although Martin Sulik's drama sheds light on typically unseen populations of Eastern Europe, the film, heavy on "Hamlet" allusions, may be overstuffed.
  7. For comedy, director Peter Howitt relies on halfhearted slapstick as the script contains little of the sharp dialogue one might expect from a script written at least in part by Harling ("Steel Magnolias," "Soapdish").
    • 47 Metascore
    • 50 Critic Score
    Disparate influences percolate but never quite cohere in Andrew Droz Palermo’s first narrative feature One & Two, which while atmospheric and beautifully lensed ends up being a touch too elliptical for its own good.
  8. A couple of scenes toward the end do generate the suspense that the whole movie needed. But the impact is too muted, and an air of tired familiarity ultimately curdles the entire enterprise.
  9. The result is more promotional film - Springfield happens to have recently released both a new album and an autobiography - than intriguing sociology, although the rabidly intense middle-aged female fans on display are probably deserving of psychological study.
  10. The audience it manages to reach will find it as vicerally satisfying as a doc on this subject can be.
  11. Sergei Bodrov's Mongol relates the story of Genghis Khan's early years in a plodding, uninspired fashion that doesn't bode well for the next two entries in a planned trilogy.
  12. Stocking the supporting cast with top-drawer talent, he gives most of his costars little to do besides attract our attention on movie posters.
  13. The greatest failure of the film, written by David Wolstencroft, is its inability to enter into the lives of the Rwandans, Tutsi and Hutu alike. The movie never moves beyond the tragic facts to show us the human face of either victims or perpetrators. All we get are white people shaking their heads and cursing Western governments.
  14. The romantic dilemmas suffered by these twentysomethings may be universal, but their naive attempts to address them are hard to buy.
  15. LUV
    Even if some of them are playing hackneyed gangster-film types, the strength of the actors makes it almost possible to forgive the formulaic plotting and artificially movie-ish developments. Candis and Justin Wilson's screenplay stretches credibility thinner and thinner as the story advances.
  16. Ultimately, the heavy-handed and annoyingly obvious aesthetic wears thin.
  17. The intriguing story degenerates into a flat-out action movie with car chases and violent shootouts that are competently filmed by Singh but seem to come from a far more conventional film.
  18. Anders’ well-attuned comic sensibility makes for moments of hilarity in some of the more originally conceived scenes, but bogs down in predictability with reliance on too many stock situations that absorb the bulk of the running time.
  19. The production squeaks by on the visual charm of art director Ian Hastings’ period touches and warm autumnal hues. The voice talent is a decidedly mixed bag.
  20. One ticket buys you cowboys, samurais, gangsters, ninjas, spaghetti Westerns, Hong Kong martial artists, knife throwers and even Fellini-esque circus performers. But like kimchi pasta, some things aren't meant to mix.
    • 50 Metascore
    • 50 Critic Score
    Feels surprisingly tame, coming off more like an extended advertisement for Grecco's coffee table book of the same name.
  21. This documentary about Howard Zinn provides an effective if not necessarily comprehensive or objective portrait of the esteemed historian and activist.
  22. Attempts to pass itself off as a fast-paced caper picture doubling as a socially conscious apartheid drama but ends up equally unconvincing in both departments.
  23. Travolta has/is a blast in an action-thriller-comedy that otherwise comes up short.
  24. Part murder mystery, part dysfunctional family drama and part meditation on the elusiveness of the American dream, Motherland doesn't fully succeed on any of its levels.
  25. A creakily old-fashioned comedy that forgot to pack the laughs along with the nudging and kvetching.
  26. Lacks sufficient substance to be of more than quickly passing interest for all but the most devoted fans.
  27. Wavering between wry humor and frank tenderness without fully committing to either, the film ends up stranded in an innocuously sweet middle ground. That’s a disappointment, especially since the movie gets off to an amusing start.

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