The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,420 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Dark Knight
Lowest review score: 0 What Love Is
Score distribution:
6420 movie reviews
  1. At once heartbreaking and uplifting.
  2. It's the selective but cumulative use of seemingly arbitrary but significant experiences that gives Boyhood its distinctive character and impressive weight.
  3. 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."
  4. The film is dark, gloomy and without music, but it is also observant and highly suspenseful, with Mungiu using his often static camera to balance banal cruelty with simple generosity.
  5. Perhaps the nature of the story is such that the film can’t help but be obvious and quite melodramatic at times, but it gets better as it goes along and builds to a moving finish.
  6. Brad Bird and Pixar recapture the charm and winning imagination of classic Disney animation.
  7. At once the most realistic and beautifully choreographed film ever set in space, Gravity is a thrillingly realized survival story spiked with interludes of breath-catching tension and startling surprise.
  8. Blanchett makes an indelible impression as a woman who, through breeding, intense personal cultivation and social expectations, has brilliantly mastered the skill of navigating through life.
  9. The film comes down to a mesmerizing portrait of a man who in any other age would perhaps be deemed nuts or useless, but in the Internet age has this mental agility to transform an idea into an empire.
  10. The film's power steadily and relentlessly builds over its long course, to a point that is terrifically imposing and unshakable.
  11. As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.
  12. The work Richard Linklater and company started in 1995's Before Sunrise retains a clarity of spirit undimmed by 18 years.
  13. Do not expect blazing emotional fireworks, just finely calibrated performances and deep reserves of inner torment.
    • 94 Metascore
    • 90 Critic Score
    Spirited dazzles and entertains like no other movie this year. It also comes to a satisfying conclusion and never once seems to take shortcuts. Miyazaki is one of world cinema's most wondrously gifted artists and storytellers.
  14. Anchored by a masterful performance by Timothy Spall in a role he was born to play, and gilded by career-best effort from DoP Dick Pope, working for the first time on digital for Leigh to bridge the gap between the painting and cinematography, Mr. Turner manages to illuminate that nexus between biography and art with elegant understatement.
  15. Tensely action-packed and muscularly directed by Kathryn Bigelow, this tale of an elite U.S. army bomb disposal unit in Baghdad is a familiar story in new clothes, targeted at the young male demographic.
  16. The visual design of Wall-E is arguably Pixar's best. Stanton, who wrote the script with Jim Reardon from a story he concocted with Peter Docter, creates two fantastically imaginative, breathtakingly lit worlds.
  17. Hysterically funny yet melancholy comedy.
  18. Director David Weissman brings a rewardingly fresh and personal perspective to the subject.
    • 94 Metascore
    • 100 Critic Score
    An epic success and a history-making production that finishes with a masterfully entertaining final installment.
  19. It’s an audacious concept, and Docter’s imagination, along with those of his numerous collaborators, is adventurous and genially daft enough to put it over.
  20. It is a tremendous achievement that shines a light on the way many countries use criminals to further their domestic and international goals. Politically informative, it also offers great drama with excitement and suspense, and no little tragedy.
  21. Berliner crafts a quietly touching and illuminating memento mori from the steady dying of an intellectual light.
  22. Magnificent in its simplicity and its relentless honesty about old age, illness and dying, Michael Haneke's Amour is a deliberately torturous watch.
  23. This material cant help but be interesting, even compelling up to a point, but its prosaic presentation suggests that the story's full potential, encompassing deep, disturbing and enduring pain on all sides of the issue, has only begun to be touched.
  24. Gideon’s Army is an eye-opening insight into a judicial hellhole world that ordinary citizens can never imagine.
  25. Rarely are documentaries as powerfully polemic and jaw-gapingly spectacular as Sherpa.
  26. Arriving amidst a tidal wave of overblown and frequently charmless big studio efforts, Sita Sings the Blues is a welcome reminder that when it comes to animation bigger isn't necessarily better.
  27. This is a gorgeously made character study leavened with surrealistic dimensions both comic and dark, an unsparing look at a young man who, unlike some of his contemporaries, can’t transcend his abundant character flaws and remake himself as someone else.
  28. Director Julian Schnabel and screenwriter Ronald Harwood have performed a small miracle in adapting for the screen Jean-Dominique Bauby's autobiography The Diving Bell and the Butterfly.
  29. Claire Denis, not always an easy director, is in top form here directing an almost all-black cast with grace and delicacy. For the happy few, this is French art house cinema at its unpretentious best.
  30. The film’s methods are boldly unorthodox and its constantly alternating moods and shifts in tone from drama to humor, joy to tragedy can be disconcerting. It’s not a film for all audiences, but despite its eccentricities it is always watchable, thanks to strongly drawn characters and the soul-stirring poetry of its imagery.
  31. Daniel Day-Lewis stuns in Paul Thomas Anderson's saga of a soul-dead oil man.
  32. A fully rounded and complicated portrait of both the man and a company that somehow managed to survive under devastating circumstances.
  33. Simultaneously a modern essay on suffering, an open-ended thriller, and a black social comedy, it is most importantly of all a thinly-veiled political parable drenched in bitter irony that takes aim against the corrupt, corrosive regime of Vladimir Putin.
  34. Woody, Buzz and playmates make a thoroughly engaging, emotionally satisfying return.
  35. The Look of Silence is perhaps even more riveting for focusing on one man’s personal search for answers as he bravely confronts his brother’s killers.
  36. Everything Lonergan serves up is arguably germane, but the pace noticeably slackens in the second half; some of the uncle/nephew scenes feel repetitive and the dramatic destination begins to feel like it’s just being pushed further and further down the track.
  37. As drama the film mostly serves to illustrate the two sides of this crucial social debate in Africa.
  38. A fascinating mix of high-minded gossip and historical perspective, examines the clash of values -- of ritual and traditions versus media savvy and political ambition -- that leads to a crisis for the British monarchy.
  39. The performances are impeccable. Sachs is a master of expressive understatement, and that applies both to the young actors playing the boys — there's not a false moment from either of them — and to the adults.
  40. A crucial, profound strength of Newtown is its refusal to rush toward “closure” as necessary, or even to suggest that it’s possible. There’s a striking lack of the bromides that usually abound in such contexts.
  41. This playfully complex and gently slippery analysis of memory and personal narrative manages to engage us in what's essentially the private business, some might even say the dirty laundry, of total strangers.
  42. Amazingly, Panahi turns the utterly simple, economical format of a camera inside a car into something relevant to his own artistic state and full of eye-opening insights into Iranian society.
    • 91 Metascore
    • 60 Critic Score
    The chosen style of animation leads to a distracting choppiness that renders the movements, gestures and facial expressions of the interviewees unconvincing. The other problem is that, memory naturally being something that returns in fits and starts, the film is rarely able to sustain any consistent narrative thrust.
  43. The Coens' typically superior filmmaking sustains the electrifying mood for most of the picture, but they are undone by being too faithful to the source novel by Cormac McCarthy.
  44. This is one hot, provocative, revelatory and astonishing documentary, one sure to provoke enthralled interest and controversy wherever it is shown worldwide.
  45. What comes out of this unlikely comparison between astronomy and history is a totally new perspective, something broader, with glimpses into deeper meanings.
  46. Ida
    Frame by frame, Ida looks resplendently bleak, its stunning monochromes combining with the inevitable gloomy Polish weather and communist-era deprivations to create a harsh, unforgiving environment.
  47. The film is an important step toward repairing the broken links and resurrecting almost a century of music and the women who made it.
  48. Grim backwoods tale takes its time building momentum.
  49. It’s an altogether strange but astonishing work of craftsmanship.
  50. There is no denying the passion or intelligence of this work, which is meant to be an encouragement to explore the films for ourselves rather than a dry history lesson. On that level, "Viaggio" fully succeeds.
  51. Her
    This is a probing, inquisitive work of a very high order, although it goes a bit slack in the final third and concludes rather conventionally compared to much that has come before.
  52. A terrifically engaging picture of life beyond the headlines, My Perestroika lifts the veil of Cold War mystery.
  53. An exhilarating fish story in the perfectly cast comic adventure.
  54. This is one of the most wildly romantic movies in ages.
  55. Pixar again hitches top-notch storytelling to the very best in CG animation.
    • 90 Metascore
    • 80 Critic Score
    What's most immediately remarkable about the film is the raw intensity of its hyper-realistic encounters, hugely enhanced by the superb acting of newcomer Rahim.
  56. While there are implicit references to the horrors of the Soviet and post-Soviet state and to the 20th century in general, this monstrously overflowing film seems to aim even higher.
  57. It's an extraordinary film.
  58. Despite its successful attempts to show how oil has affected everyday citizens in nearby Nigeria, the film remains fairly dry.
  59. Greengrass has made not only a thoroughly fact-checked film but a film that uncontrovertibly comes from the heart.
  60. Utterly compelling account of a true-life criminal investigation where "truth" can never be pinned down.
  61. An infectious blast of funky jazz played by a terrific cast and a director at the top of their respective games.
  62. The filmmakers were right to believe that a live-action version of this story would have failed to achieve the universality Persepolis does.
  63. The movie contains priceless slapstick from Bill Murray, finely tuned performances by Murray and the beautiful Scarlett Johansson and a visual and aural design that cultivates a romantic though melancholy mood.
  64. Lo Cascio and Boni inhabit their roles with keen intellectual and emotional vigor.
  65. The film is non-fiction storytelling of remarkable nuance.
    • 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.
  66. A glorious new addition to martial-arts cinema.
    • 89 Metascore
    • 80 Critic Score
    Kore-eda listens to his characters' inner thoughts with the attentiveness of a piano tuner, and reveals them with the lightest inferences.
  67. Director Laurent Becue-Renard’s engrossing study of soldiers coping with trauma through intensive group therapy offers a rare look at real men shaken by real experiences, underlining the monumental courage it takes for them to get their lives back on track.
  68. 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
  69. It’s a lovely piece of work.
  70. It's enriched by signature qualities – the humanistic, nonjudgmental gaze, the absence of sentimentality, the ultra-naturalistic style – that have always distinguished the Belgian brothers' fine body of work.
  71. Utterly uneasy to watch but strikingly and confidently assembled, the film is a powerful aural and visual experience that doesn’t quite manage to sustain itself over the course of its running time, but is a remarkable — and remarkably intense — experience nonetheless.
  72. An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace.
  73. National Gallery feels closer to a pure aesthetic investigation than an organizational exposé, and in that respect is reminiscent of recent Paris-set films like Crazy Horse or La Danse, mostly allowing the art to speak for itself.
  74. The first two Max features ran barely 90 minutes and it takes guts and real confidence to dare push a straight chase film with very little dialogue to two hours. But Miller has pulled it off by coming up with innumerable new elements to keep the action compelling.
  75. May not offer up any fresh revelations, but this effectively assembled documentary puts it all in valuable, if depressing, perspective.
  76. Both a powerful allegory for post-war regeneration and a rich Hitchcockian tale of mistaken identity, Phoenix once again proves that German filmmaker Christian Petzold and his favorite star, Nina Hoss, are clearly one of the best director-actor duos working in movies today.
    • 89 Metascore
    • 80 Critic Score
    It is both funny and sad, placid and provocative and, above all, hopeful and despairing.
  77. The film’s bracing ground-level truths, by turns hopeful and despairing, challenge Beltway anxieties about the “porousness” of the border and shake up preconceived notions about Americans’ relationships with their southern neighbors.
  78. Intelligently written, vividly shot, tightly edited, sharply acted, the film represents a rare example of craftsmanship working to produce a deeply moving piece of history.
  79. Director Beth Harrington packs enough drama, music and history to fuel a miniseries in her thoroughly entertaining and comprehensive account of the Carter and Cash families and their enduring contributions to American music.
    • 89 Metascore
    • 70 Critic Score
    Not everyone will wax lyrical about this enigmatic and troubling film, which is also Chan-dong's most slow-moving one. But those with an eye for reading between the lines can find layers of meaning.
  80. Artist evinces unlimited love for the look and ethos of the 1920s as well for the style of the movies. The filmmakers clearly did their homework and took great pleasure in doing so, an enjoyment that is passed along in ample doses to any viewer game for their nifty little conceit.
  81. Not only (Kaufman's) most accessible and romantic screenplay, it's his most complete. The third act works like a charm and pulls all his themes, characters and conflicts together beautifully.
  82. Now Eastwood turns on a dime and tackles not just his first war movie but two war movies of considerable scope and complexity. If he doesn't nail everything perfectly, he nevertheless has created a vivid memorial to the courage on both sides of this battle and created an awareness in the public consciousness at a most opportune moment about how war feels to those lost in its fog.
  83. The film has enormous charm and zero pretense.
  84. Nielsson somewhat frustratingly avoids giving us many cues to the passage of time, but nevertheless the film captures some of the drama generated by the public's impatience and Mugabe's maneuvering during the long drafting process
  85. Capote represents something unique in cinema.…Most eye-catching for critics and audiences in the weeks to come will be Philip Seymour Hoffman's brilliant metamorphosis into the persona of the late author.
  86. Polished, funny and utterly charming.
  87. An unflinching portrait of state-sponsored evil, Manuscripts Don’t Burn feels like the work of an angry artist who has been jailed, censored and harassed too long. This time it’s personal.
  88. The antithesis of “let’s-put-on-a-show” fluff, Whiplash...is about the wages of all-out sacrifice and commitment.
  89. Hersonski enriches this evidence by bringing in survivors of the ghetto, who tell stories of life there while watching the film themselves.
  90. Constant lateral tracks, push-ins, whip-pans, camera moves timed to dialogue, title cards, chapter headings, miniatures, use of stop-action, fetishization of clothing and props, absurdist predicaments — all the techniques Anderson has honed over the years — are used to pinpoint effect here.
  91. The final half-hour is a joy to watch, as turning points follow in rapid succession.
  92. Less concerned with classic storytelling than with creating virtual performance pieces on screen, the film features dozens of extended sequences of Adele and Emma both in and out of bed—scenes that are virtuously acted and directed, even if they run on for longer than most filmmakers would allow.

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