The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,053 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Little Men
Lowest review score: 0 Dirty Love
Score distribution:
8053 movie reviews
  1. 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.
  2. As drama the film mostly serves to illustrate the two sides of this crucial social debate in Africa.
    • 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.
  3. Despite its successful attempts to show how oil has affected everyday citizens in nearby Nigeria, the film remains fairly dry.
  4. This intoxicatingly stylish work is all over the place, a hot mess at times so ravishing it sends shivers down to the toes. Unfortunately, it’s also at times just plain crass and silly.
  5. The film clearly wishes to explore the topic of children having children, but it only inspires a great desire to smack them both.
  6. There are eight individual decisions to be made here, yet Beauvois never humanizes any of his monks. The film instead consumes itself with songs, communal prayers and nightly meals.
  7. For much of its running time, Zama is merely remote and enervating, too accurately reflecting its protagonist’s predicament.
    • 84 Metascore
    • 50 Critic Score
    Hard luck conspires with bad sex in this unspectacular Austrian tale of crime and punishment.
  8. From a sensory point of view, the film is a pleasure, the images having been manipulated in various ways to evocative effect, Anderson’s voiceovers proving more amusing than not, and the music taking mostly lively turns.
  9. Though it takes some time to sort out the large cast, the leads, all fine actors, eventually come into focus. As the good and bad samurai, Yakusho and Ichimura have the gravitas to take their roles seriously and perform a decisive one-on-one sword fight straight.
  10. The film captures the energy, the stresses and the tension of people striking punching bags and each other but without narration, it all feels a bit random and uninteresting.
  11. A penchant for suffocating close-ups and an overabundance of scenes that go on far too long mar Abdellatif Kechiche's The Secret of the Grain, an otherwise engaging drama about an immigrant Arab family in France.
  12. Office is undermined by a simplistic screenplay lacking the nuances and frisson one expects of a cutting-edge satire of a capitalist world propelled by graft and greed.
  13. Impressive in parts, but wildly uneven as a whole.
  14. Very much a work of its time, the documentary offers unique perspectives for fans of both the saxophonist and the pioneering filmmaker, but is unlikely to attract a broad audience beyond those camps.
  15. Atmospheric but pedestrian, it is a retelling of the classic tragedy of all civil wars, from the U.S. to Vietnam to England, where brother is pitched against brother.
  16. Turns Jane Austen's nimble satire into a lumbering gothic romance.
  17. Trite, grim and feebly provocative.
  18. The project suffers badly from being largely improvised as the pair fall back on familiar impressions and old jokes. Lazy and indulgent, it smacks of being what the British call a "jolly," that is a freebie with no obligation to turn in work afterward.
  19. Jewish and academically inclined audiences worldwide will respond to numerous aspects of this unusual drama, although it is paradoxically both too broad and too esoteric for the general art house public.
  20. Ultimately, the heavy-handed and annoyingly obvious aesthetic wears thin.
  21. Coming Home sinks into a conventional tragic romance rut that not even engaging performances by Gong and Chen can save.
  22. All the action is staged with energy, but it gets relentless without anything really funny going on.
  23. The ultimate effect of [Östlund's] studied techniques is more restricting than beneficial, which, combined with a protracted running time, faintly self-righteous air and a perplexing, misguided coda, produces a sense of letdown at the end despite the strength of much that has come before.
  24. On their own, individual scenes are effective enough in semi-farcically portraying the ignorance, avoidance and/or downright denial by the practitioners of bad loans. Together, however, they are wearying in their repetitive nature.
  25. The dissected minutiae of this adultery drama unfortunately doesn't add up to a very original or moving whole.
  26. There's little in the way of genuine depth, complexity or nuance here, Diaz instead seeks to convey the illusion of profundity by having various characters throw around weighty social and philosophical verbiage in thuddingly sophomoric fashion.
    • 80 Metascore
    • 50 Critic Score
    Michelle Williams does her best but she cannot prevent Kelly Reichardt's Wendy and Lucy, a weak tale about being broke and on the road in rural America, from dwindling into boredom.
  27. Three Times offers a careful examination of the changing ways people have reacted to each other during the past 100 years. As such, it's an interesting essay but certainly a minor work from a master.
  28. The Queen of Versailles will prompt loathing not only among the so-called 99 Percent, but among those in the top 1 percent who would like someone more sane to represent them on camera.
  29. By this time, cinematographer Fred Kelemen's mostly stationary camera has revealed about all there is to see in a fine array of textures in such things as the wooden table, the rough floors, the walls of stone, the ropes on the horse and the skin on the boiled potatoes. That does not, however, make up for the almost complete lack of information about the two characters, and so it is easy to become indifferent to their fate, whatever it is.
  30. A picture whose tone wanders between arid academic exercise and something close to parody of the more pretentious trends in current auteur cinema.
  31. The premise of this Hungarian/German/Swedish co-production is solid, even if the execution feels a little slack and the running time too long.
  32. If ever a film cried out for the 3D treatment, it's The Mill & the Cross, an ambitious but frustratingly flat attempt to explore, analyze and dramatize a masterpiece of 16th-century art.
    • 80 Metascore
    • 50 Critic Score
    It is good-natured, lowbrow, backlot, hit-or-miss humor, but with no cumulative effect beyond its succession of hard-worked jokes. More theatrical than cinematic in its conception, this group effort relies on the improvisation of its performers.
  33. Acutely observed but gloomy and lacking narrative, it tells of 12 months in the life of a decent but dull suburban couple and their friends, most of whom you would go out of your way to avoid at a party.
  34. So like much of this film, the viewer is turned into an observer. You never feel close enough to the action, either in the ring or in the kitchens, living rooms and tough streets where the story takes place. The characters engage you up to a point but never really pull you in.
  35. The film doesn't really manage to sustain attention through its brief running time. But it is heartening to see that the filmmaker, now in his mid-80s, is as passionately engaged as ever.
  36. While all the interview subjects are enthusiastic, the overall lack of familiarity with Rodriquez's personal background and career collapse begin to drag.
  37. Indeed, White Swan/Black Swan dynamics almost work, but the horror-movie nonsense drags everything down the rabbit hole of preposterousness.
  38. Directed by French director Anne Fontaine (Two Mothers/Adore, Coco Before Channel), this is another gorgeously appointed but also slightly overly formal film, with a muted emotional payoff that, while appropriate for the story’s convent setting, doesn’t exactly make for must-see cinema.
  39. The film is attractively and professionally packaged however, with accomplished camerawork and editing supporting a narrative that eventually seems to reveal more smoke than fire.
  40. Think of Please Give as a finely tuned short story with every glance and gesture full of suggestive meaning. Drama is not high on the agenda here. There is a bit of comedy and, briefly, sexual mischief even though it doesn't look like much fun.
  41. One's appreciation of this film depends largely on one's ability to be amused by a Dadaist prankster and interest in the Pop Art scene in the middle of the last century.
  42. More pictorially arresting than intellectually coherent.
  43. The pace is gently hypnotic and the topic fitfully interesting, but the format will test the patience of all but serious art-cinema fans with its narrow focus and chilly film-school minimalism.
  44. Since from her other features it is clear she's an uncompromising director, it should perhaps come as no surprise that this film is as unapologetically personal and self-absorbed as it is, making no attempt to draw in viewers perhaps unfamiliar with the filmmaker.
  45. The story ends in a muddled rush, leaving many unanswered questions. Like a newly launched high-end smartphone, Ex Machina looks cool and sleek, but ultimately proves flimsy and underpowered. Still, for dystopian future-shock fans who can look beyond its basic design flaws, Garland’s feature debut functions just fine as superior pulp sci-fi.
  46. The film has two powerful, loosely connected stories to tell but not a unifying vision that could package the often-potent material for maximum impact.
  47. While its two credible leads are certainly up to the challenge, there's a relentless claustrophobia that prevents the film from taking on a fully dimensional life of its own.
  48. Certainly for most audiences the viewing experience will prove not only tedious but bewildering.
  49. Even the art house crowd will find the film off-putting not only because of its vagueness but because of its thoroughly unlikable characters.
  50. Despite a warmly interacting cast that includes Jennifer Ehle as Emily’s sister and Keith Carradine as her lion-maned, lionized father, and a valiant effort on the part of Nixon and Davies to externalize the poet’s inner demons in emotional, high-tension scenes, the film can’t escape an underlying static quality that extinguishes the flame before it can get burning.
  51. At once impressive and indulgent, hypnotic and patience-inducing with its languorous rhythms. It is, in other words, decidedly not for everyone.
  52. While rambunctious and passably humorous, this offspring isn't nearly as imaginative and nimble-minded as the forerunner that spawned it.
  53. Blue Ruin is a talented but sophomoric low-budgeter that straddles the divide between genre thriller and art piece with mixed results.
  54. A pictorially unusual but dramatically listless tale.
  55. This aggravatingly empty would-be suspense piece puts all its trust in its star to save the day, but even this compulsively watchable performer can’t elevate such a vapid, undeveloped screenplay.
  56. This is a slicker, shallower exercise. It's hypnotic as it unfolds, but once the credit roll frees you from its grip, it doesn't bear close scrutiny.
  57. [A] mostly engaging but only fitfully inspired serio-comedy.
  58. This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.
  59. Fukunaga clearly exhibits a flair for spirited storytelling, but when Sin Nombre departs from the specifics of its unique world in favor of more conventional genre execution, it leaves the characters and audience adrift.
  60. After a while, the extremely limited camera movement and languid pacing take an exacting toll, resulting in a viewing experience that is considerably less than idyllic.
  61. It’s hard to detect a strong raison d’etre behind Sofia Coppola’s slow-to-develop melodrama.
  62. A muted psychological mystery where filmmaker Hilary Brougher's interest in "solving" a possible crime is superseded by her investigation into matters involving denial, free will and the physical and emotional burdens of pregnancy.
  63. Despite the fact there's no lack of raw material, Bukowski fails to place its subject's actions and statements in any psychological or literary context. It's simply a celebration of Bukowski's misogyny and self-abuse.
  64. Tonal inconsistency, lethargic pacing and a shortage of fresh insight dilute the storytelling efficacy of this quartet of loosely interconnected episodes involving ordinary people pushed over the edge.
  65. May not be for all tastes, but it's an up close and personal look at a true rock 'n' roll animal.
  66. The film constantly toys with the expectations of both its characters and the audience, transforming a classic three-way tale of mistaken identities into something much more mysterious and troubling.
  67. Though it may not have much of an audience beyond the band's fan base, it offers enough context to serve as a primer on the hugely influential Native Tongues clique and should have life on home-vid.
  68. The director attempts to infuse the film with a dreamy poeticism via slow motion and other stylistic devices, with the results feeling mildly pretentious.
  69. Heartfelt but clumsy.
  70. All of these ingredients should come together in a mouth-watering finale, but such is not the case; in fact, the film becomes more obvious and less psychological as it goes on.
  71. The character and geographical jumps leave you in a muddle with thinly sketched personalities and confusing plot points. Worse, dialogue dense with nuance and shaded meaning flies by too quickly.
  72. In the end, an audience has far too much knowledge about Gregoire's movie projects and finances and far too little about what makes anyone here tick.
  73. The film does not stand up to the current crop of music/concert films like "U2 3D," which brilliantly uses 3-D to show the Irish band in concert so as to encapsulate its relationship to its fans, each other and their own music, and "CSNY: Deja Vu," which hones in on the political connection Crosby, Stills, Nash and Young have to their music.
  74. While there's an awful lot to like about this infectious celebration of a remarkable event featuring some superb, larger-than-life performers at the top of their game, the enterprise comes across as a bit of a missed opportunity.
  75. The first-rate cast cannot be faulted. Chandor has assembled an extraordinary ensemble.
  76. While Afineevsky generally manages to pack in a lot of detail, analysis, nuance and humanism, this is largely absent in the last chapter, which feels like it was rushed together at the last minute and didn’t receive the same amount of time, care and thought as the film’s previous chapters
  77. A hit-and-miss affair. It has moments of unexpected, offbeat comedy, but most of the time neither the characters nor the situations engage the viewer.
  78. A bizarre and baroque meditation on death, memory and the passage of time that ranks among the director’s more cryptic works (of which there are several in his whopping 100+ feature filmography), though it does offer up a few pleasurable moments.
  79. The Dance of Reality is a rich pageant of nostalgic narcissism laced with New Age mysticism and fortune-cookie wisdom.
  80. Half comedy and half drama, the film struggles to find its tone amid stock characters and leisurely plotting, with nods to Fellini and Italian neorealism that leave the taste of a big, reheated pizza. It all should be funnier; still the atmospheric local kitsch wins some smiles.
  81. While far too much of the film is staged discussion and smug political jousting, there is savage and lethal black irony.
  82. The story itself avoids the complicated structure of Matteo Garrone’s arty Gomorra, suggesting audiences will have an easier time digesting the tragedy of three brothers. But though it doesn't have Gomorra's comprehension problems, it also lacks that film's iconic cinematic imagery and seems ultimately far less memorable.
  83. The film does achieve moments of catharsis, but it can be heavy going.
  84. Less an investigation into or comprehensive summary of the Penn State sex-abuse scandal than a look at the feelings it elicited, Amir Bar-Lev's Happy Valley is more concerned with the phenomenon of team spirit than any single question of fact or moral judgment.
  85. The mash-up of elements combine with a singularly unpleasant roster of characters to create a work of genuinely off-putting quirkiness.
  86. Complex but cold tale.
  87. As usual, there are only fragments of thoughts, nothing is developed, and it will be left only to the tiny band of die-hard Godardians to try to make any meaningful sense of the disparate fragments stitched together here.
  88. Ferguson certainly has some strong, even encouraging points to make. And he has brought impressive filmmaking skills to his cinematic essay. Still, one wishes that he had presented his thesis with a little more energy and a little less didacticism.
  89. More than the film that surrounds him, Jack Black is worth the price of admission in Bernie, an oddball May-December true life crime story that would have profited from being a whole lot darker and full-bodied than it is.
  90. With Gere’s character so lacking in memory and mental clarity, the film provides very little for an audience to latch on to. Tedium quickly sets in and is only sporadically relieved in this labor of love that simply doesn’t reward even the patient attention of sympathetic viewers.
  91. The documentary is an act of political activism. Guggenheim and his politically conscious producers, Laurie David, Lawrence Bender and Scott Z. Burns, have no interest in either challenging Gore's viewpoint or giving opposing opinions equal time. The film is simply a conduit for Gore's message.
  92. It feels ineffably slight even if it’s a consistent pleasure to spend time in the company of these three likeable women.
    • 75 Metascore
    • 60 Critic Score
    The only thing might have added variety and richness to the film would be the inclusion of more dialogues or interactions with more than one person.
  93. Benefitting from likeable, good-natured subjects and the peculiar pastimes with which they fill their cooped-up hours, the doc certainly gets us interested in and rooting for the Angulo boys.
  94. It's to the script's credit that it doesn't tie up the story in cute little bows and instead leaves a number of questions unanswered by the end.
  95. Although it’s an inspired gamble to introduce familiar genre elements into what’s essentially a high-strung relationship drama, Nina Forever’s repeatedly shifting tone ultimately proves more of a drawback than an asset.

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