The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,512 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Rapt
Lowest review score: 0 Your Highness
Score distribution:
7512 movie reviews
  1. Surrealism is one thing, but The Intruder appears so ill defined and random that it ends up looking simply inept.
  2. Filmed in permanent twilight with a static camera and no music, it is gloomy and unrewarding with an oblique and uninformative script.
  3. Basically the film consists of a bunch of techies in white shirts and glasses laboriously discussing their views, exchanges you get the feeling the filmmaker thought would come off as humorous.
  4. Despite the artistic flourishes, this is still an utterly repellent look at a psychopath who does not deserve the attention of the filmmakers or the audience.
  5. Pretty pictures alone do not in themselves great cinema make - not for the first time, Reygadas' waywardly wilful approach to screenwriting and structure severely outweighs whatever fleeting pleasures his movies may impart.
  6. This film neither really embraces the mechanics of primitive cinema nor creates a coherent syntax of its own.
  7. Pretentious to the core and lacking any context or credible characterizations.
  8. Crude, repetitive and rigorously single-minded, the popular actor’s writing and directing debut lays it all on a bit thick, as the few points the film has to make are underscored time and time again.
  9. Superficially provocative but ultimately pointless, this is one punishing vacation.
  10. This lushly and pretentiously made drama about a young American whose worst instincts are unleashed during a stay in Paris endeavors to entice with details of the seedy underworld of La Pigalle but is a turn-off in almost every respect.
  11. An embarrassment to all concerned, the film was written, directed and produced by Soderbergh for reasons that are not readily apparent.
  12. For all its manic energy, there aren't enough recreational drugs in the world to make Yakuza Apocalypse anything but a bloody silly bore.
  13. Longing makes you long for a good movie. Tedious and long-winded even at 90 minutes, this German film, written and directed by Valeska Grisebach, tells a mundane tale of adultery that lacks even the slightest insight.
  14. The film just looks a mess, apart from some of the rather pretty shots of banana slugs and redwoods. It doesn’t help that the characters, even accounting for how little developed they are, come across as entitled, self-absorbed brats, and that the very title is, on a first viewing, a complete enigma. At least it’s only 72 minutes long.
  15. Shallow is a mild word for it. Others would be silly, miscalculated, unconvincing, artless, pandering, hokey, ridiculous. Or just plain awful.
  16. In the end one would rather be back at one's own computer, tending to the tedious details of digital life, than watching this clique get pinged to death.
  17. A film that seems drained of life and ideas rather than sustained by them.
  18. Splinter is a bad idea, borrowing body parts, as it were, from old horror flicks to genuinely unsatisfying results.
  19. At best a kitschy "Catch Me If You Can" and at worst a tedious comedy that grows more tiresome by every self-consciously irreverent minute.
  20. The production is over-stuffed with cutesy split screens, jarring dream sequences and a pushy score by Bright Eyes band members Nathaniel Walcott and Mike Mogis that succeed in dragging the proceedings from merely cloying to increasingly annoying.
  21. Ultimately, the film is as numbingly boring as, well, a lengthy train ride during which there's nothing to do but look out the window.
  22. Well, that didn't take long. Everything fun and terrific about "Iron Man," a mere two years ago, has vanished with its sequel. In its place, Iron Man 2 has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines.
  23. The track records of the performers are impeccable, but Issit has obviously never watched an awards show or similar event where comedy actors appear unscripted. Placing the weight of such a preposterous storyline on their improvisational shoulders was a disaster waiting to happen. And it happened.
  24. 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.
  25. Snyder and writers David Hayter and Alex Tse never find a reason for those unfamiliar with the graphic novel to care about any of this nonsense. And it is nonsense.
  26. For the most part, the acting is shrill and cartoonish. Indeed, most of the actors appear to be, in the finest desi filmmaking tradition, from the filmmakers' close circle of friends and family.
  27. This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.
  28. Laughs do not exactly pour forth from this dreary and frequently insulting picture.
  29. The movie strands you in two miserable flats with these cliche-ridden characters and a static love story that is as predictable as it is pedestrian.
  30. Attempting to mix emotional pathos with broad farce, the film fails on both levels.
  31. Bored audiences enduring this talky, aimless film might wish that they, too, were watching the porno film that is seen only in brief snippets.
  32. M. Night Shyamalan’s latest is well cast and strong on setting. But the dull thudding that resounds isn’t part of its effective aural design; it’s the ungainly landing of nearly every shock and joke.
  33. Casa feels like a miss. The digging into each of these women's lives stays shallow and seldom uncovers anything unexpected.
  34. The sad result is a karaoke nightmare. Loud and pointlessly crude, the film takes the disintegration of a dysfunctional working-class family and gives it the song-and-dance treatment.
  35. An admirable idea in theory proves to be a real slog to sit through in Everyday.
  36. A particularly nasty slice of medical-themed horror, Marc Scholermann's film is the sort of thriller in which the tenderest scene depicts an autopsy.
  37. Both the director and writer show such patchy story sense that a lot of the buildup to the final bloodshed and malevolence registers as suspense-free clutter.
  38. Eden Lake has the trappings of a low-IQ thriller but it's really a contemptible tract feeding the prejudices of the U.K.'s rightwing tabloids that claim the country is overrun by teenagers wielding knives.
  39. Originality or insight aren’t very high on the priority list of this drama.
  40. A textbook example of how not to turn real-life headlines into big-screen drama, Jeppe Ronde's Bridgend is a toxic combination of the laughable and the reprehensible.
    • 52 Metascore
    • 30 Critic Score
    Whimpers a bit like "Rosemary's Baby" and gurgles occasionally like "The Exorcist," but the video look and bare-bones craftsmanship all scream B movie.
  41. Brad Anderson has basically thrown everything into the film's furnace so as to keep its wobbly narrative running — to no avail, sadly: as the leaps between genre tropes and divergent threads exposes ever wider plot holes, this incoherent adaptation of an Edgar Allan Poe attempts endless twists and turns culminating in a supposedly cathartic denouement drenched in sap.
  42. There's little sense of personal investment from the director, but Egoyan does what he can to keep the story moving forward, without getting bogged down in its implausibilities, which are too many to count.
  43. The film’s first half is a slog as Chism sets up the minefield for Wade, with every (fully visible) mine certain to explode.
  44. Self-destructs in its quest for comic outrageousness.
  45. Easily the worst in a trilogy that has been notable mainly for the presence of its everyman action star, Transporter 3 is a nonsensical, choppily edited bore, with awful dialogue.
  46. This posturing, airless exercise is wearing rather than exciting.
  47. One of the unfunniest comedies ever. Punch lines are lifeless. Characters are borderline catatonic. Running gags can't even walk.
  48. 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.
  49. Going the Distance is, in a way, a remarkable film: It's hard to imagine any romantic comedy going wrong in so many different ways.
  50. In his second feature as a director, Gallo acts as writer, director, producer, star, cinematographer, production designer and editor. Thus, the failure is all his.
  51. (Perry) style is too crude and stagy for Shange's transformative evocation of black female life, and his moralizing strikes exactly the wrong notes to express the pain and longing that cries out from her heated poetry.
  52. I Hate Myself :) centers on two thoroughly repellent, self-absorbed figures with whom spending time proves a nearly intolerable trial.
  53. It’s impossible to buy into the film’s plea to be taken seriously at the end, just as the upbeat finale feels false.
  54. The film is well-intentioned but dramatically unconvincing, full of clichéd situations and on-the-nose dialogue about kids getting their shot and living their dream.
  55. A paranormal mystery without a spine. It has no suspense because it has no belief in itself.
  56. A disturbing supernatural drama that leaves a sour taste in the mouth.
  57. The most appreciative audience for this lame National Lampoon release likely will be guys in tour buses.
  58. No one on the creative side has his eyes on the characters, so they flounder in a sea of misguided energy.
  59. Shock doc The Blackout Experiments augurs to be an experiment in audience walk-out.... it is neither scary nor shocking.
  60. They just don't make 'em like this anymore, and it's a good thing, too.
    • 49 Metascore
    • 30 Critic Score
    Overlong and aimless documentary.
  61. A creaky haunted house that, once the big twist is revealed, makes very little sense at all.
  62. Despite the presence of Shirley MacLaine and Christopher Plummer, both sprightly and appealing in the lead roles, this misfire of a cornball romance is so tone-deaf, so utterly lacking in screwball snap and visual punch, that viewers will find it hard to care whether or not the aging lovebirds end up in each other’s arms.
  63. 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.
  64. What fans of the original movie, "Charlie's Angels," which was fun and good-natured, will make of this sloppy mess is hard to guess.
  65. Despite a couple of unconvincingly upbeat tacked-on moments at the end, Project X basically reads as nihilistic, as not believing in or standing for anything. Not even fun.
  66. Despite its scaldingly hot cast and formidable writer/director combination, The Counselor is simply not a very likable or gratifying film. In fact, it's a bummer.
  67. Loaded with obtuse symbolism, the film is not only hard to understand, it isn't much fun trying to figure it out.
  68. Lee's latest rambles through almost two hours of unfocused drama, burdened with endless didactic editorializing, before lurching out of nowhere into ugly revelations and violence.
  69. This lugubrious drama fails in its essential goal of making us care about its central character’s existential crisis.
  70. Ultimately Adam & Steve mainly goes to prove that indie gay romantic comedies can be just as witless, vulgar and over the top as their straight, major studio counterparts.
  71. Thematically diffuse, tonally inconsistent and blighted by an inauthentic feel for its story’s time and place, it sits awkwardly between sober human drama and lighter dysfunctional-family turf, constantly striving for unearned emotions.
  72. Not so much blasphemous as just outrageous for the hell of it.
  73. Despite relocating across the pond to the esteemed British Museum, the creaky Night at the Museum: Secret of the Tomb fails to capitalize on the comic potential provided by that change of venue.
  74. Van Cotthem's performance is wholly convincing, which might not be something to brag about, and the film flatlines right along with him.
  75. It has all the flaws of the recent Bradley Cooper vehicle Burnt, only without the sex and the charm.
  76. The most banal and indulgent of Gus Van Sant's periodic studies of troubled kids, this agonizingly treacly tale comes off like an indie version of "Love Story" except with worse music.
  77. Paints a surprisingly sour portrait of nearly all its characters, so much so that even the final-reel redemption rings hollow and forced.
  78. A grim little drama about a young woman's experiences with a left-wing cult, Alison Murray's debut feature suffers from disjointed storytelling and myriad other problems, including a bizarre reliance on modern dance sequences to interrupt the action.
  79. The film is nearly unendurable.
  80. A cloyingly sentimental story that rings false in every moment.
  81. The film seems nearly writer-free. Absolutely no time gets wasted on story, character development or logic.
  82. Just lousy.
  83. Stacy Keach provides a bit of relief from all the oppressive earnestness in his brief appearance as Mia’s grandfather, evoking a depth of feeling otherwise missing here.
  84. 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.
  85. This is a movie drowning in flamboyant design elements and in need of a stiff shot of enchantment.
  86. The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.
  87. The filmmakers attempt to inject some life into their dubiously thin narrative by incorporating sequences shot at actual haunted houses that favor more elaborate shock tactics.
  88. Sometimes, deadpan observation of the mundane isn't Jarmuschian. Sometimes it's just dull.
  89. Featuring murky visuals, an even murkier narrative that lamely sputters to its conclusion, and frequently amateurish performances — the effectively low-key Isabelle is a notable exception — the film never explores its undeniably disturbing issues with enough thematic depth to compensate for its ragged execution.
  90. Beerfest is tedious and, at 112 minutes, too long to sustain a sophomoric, one-joke comedy even for the presumed target audience of older male teens and the college-age crowd.
  91. 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.
  92. The story is told in a hammer-on-anvil manner that evinces no gift for social satire or sharp cultural insight.
  93. This silly film does nothing to enhance Taiwanese auteur Tsai Ming-liang's reputation. The acting is below par, the mise-en-scene is clumsy and the structure is lazy.
  94. Completely lacking in visual, narrative or stylistic coherence, the film also suffers from cheap-looking visual effects and poorly staged and edited action sequences that will not exactly please the fanboys.
  95. Hank and Asha takes an unremarkable situation and renders it completely banal.
  96. 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.
  97. 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.
  98. Feste, who has one previous effort as a writer-director, last year's "The Greatest," fails here to do the most basic thing -- give an audience a rooting interest, or any interest at all, in these four troubled people.

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