The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,162 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 Best of Enemies
Lowest review score: 0 What Love Is
Score distribution:
7162 movie reviews
  1. It’s perhaps too focused on the Reichsfuhrer’s personal life... while the director’s decision to add sound effects to silent images sometimes feels uncalled for.
  2. The Disneyesque adage is unfortunately all too typical of A Ballerina's Tale, which, other than adding to the pop culture barrage that has accompanied this gifted dancer's rise to stardom, does little to provide insight into her unique story.
  3. There is a darkness in all these “average” characters, underlined by low-key acting and the film’s sinisterly calm, measured pace.
  4. This murky, thriller-tinged Western has the terrain down cold -- from the wide-open spaces to the rocky vistas -- but beneath all the requisite genre trappings there's a vast, empty gulch where the affecting dramatic element should have been found.
  5. 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.
  6. A coming-of-middle-age comedy running on somewhat less than a full tank, Liberal Arts possesses enough comedic moments to approach crowd-pleasing status.
  7. While it can be labeled a thriller or a murder mystery, the film is talky, unhurried, contains little action and shows more interest in how characters think and behave than in its plot.
  8. An admirable idea in theory proves to be a real slog to sit through in Everyday.
  9. Hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors.
  10. Baby Boom serves up plenty of smart, knowing laughs early on, but by the time it hits the third act (or would that be trimester?), it barely crawls to the finish line.
  11. Eli Roth turns to modern-day Asian fright filmmakers as inspiration for his latest blood-soaked effort while demonstrating an intriguing, original voice of his own.
  12. The film is focused enough on relationships not to sound preachy.
  13. Despite its intriguing premise, the movie is a disappointing misfire.
  14. The shtick sticks in The Mind's Eye, which lovingly apes period details, this time with psychokinetic warriors instead of alien invaders. But where the first film was dour, this one works so hard at its ultra-grave air of menace that it eventually turns (intentionally, one hopes) comic, building to third-act violence that will leave the right kind of audience howling with delight.
  15. Terrence Howard delivers another solid lead performance and competition swimming is a new arena for such films. Nonetheless, Pride is just plain trite.
  16. The film will frustrate viewers who insist on knowing which interviewees are recounting real experiences and which are perpetuating fictions hatched by the game's creator, Jeff Hull. But mystery is part of the appeal.
    • 55 Metascore
    • 70 Critic Score
    If imitation is the sincerest form of flattery, David Cronenberg should be feeling pretty chuffed with son Brandon’s big-screen debut, a petri dish of high-concept perversity and cultural commentary teeming with lo-fi ickiness.
  17. The dark and sometimes funny The D Train is a feel-bad comedy, in that one feels bad for what happens to every character in the film and bad for sometimes being taken to places that feel more implausible than just transgressive.
  18. In outline, the story is pretty funny, and the film's outlandish takes on sports-movie conventions deliver some laughs. But Thurber chooses the low road to those laughs so often that he undermines his own satirical design. His actors certainly deliver amusing, spirited performances, but again, they get done in by relentless adolescent humor.
  19. What could have been a biting black comedy taking product placement to the logical extreme instead is so obviously predictable that even a savvy cast led by David Duchovny and Demi Moore can't sell it.
  20. Director Tim Johnson (DreamWorks’ Antz) and writing team of Tom J. Astle and Matt Ember (Epic), keep the momentum humming and the amusing bits reasonably entertaining, but they can’t vanquish the prevailing feeling of deja vu, and that the Boov are merely Minions of a different hue.
  21. An entertaining mess. It blends together musical styles and dances, historical periods with howling anachronisms, coy, almost childish gimmicks with R-rated sex and violence.
  22. Green has chosen for his focus to fall on Enrique, in many ways the least interesting character in his story, rather than the son or even the mother who is surprisingly protective and understanding.
  23. Director Patricia Riggen finds a rigorous and affecting visual language for The 33, but she and her international cast are hampered by a screenplay that too often gets in the way of a powerful story.
  24. No matter how frenzied and elaborate and sometimes distracting his technique may be, Luhrmann's personal connection and commitment to the material remains palpable, which makes for a film that, most of the time, feels vibrantly alive while remaining quite faithful to the spirit, if not the letter or the tone, of its source.
  25. 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.
  26. Tsai, who co-wrote the script with Yu, pulls out all the stops with his C-dub role, brimming with witty send-ups of Chinese-American cultural values and Asian stereotypes.
  27. It offers a plethora of personal accounts, practically all of which are unabashedly laudatory, that provide a fuller picture of its subject's complex personality even if the results border on hagiography.
  28. Alda actually is kind of interesting as the mentally unstable uncle, but Broderick appears to be sleepwalking. Madsen has little to do, and everyone else plays things far too broadly.
  29. A commendably restrained loser-turns-winner tale offering an unexpected second showcase for Terri star Jacob Wysocki, Matthew Lillard's Fat Kid Rules the World is less colorful than its grandeur-deluded title suggests.
  30. Even if The Men Who Stare at Goats is not worth comparing to "Dr. Strangelove," it should satisfy audiences with its great cast and patent absurdities, coated in quaint nostalgia for the happy hippie days of yore.
  31. The Pact demonstrates both why people respond to horror and why it's so routinely scorned.
  32. Primarily an actors' showcase, it does at least provide the opportunity for the virtuosic John Ventimiglia (The Sopranos) to strut his stuff in a well-deserved leading role.
  33. Although distinguished by some wildly staged vehicular chase sequences and genuinely witty deadpan dialogue, the film inevitably feels like a footnote to the plethora of similarly themed movies and television shows that seem to arrive on a weekly basis.
  34. Magic in the Moonlight does have a not-disagreeable expensive-vacation vibe to it. But the one-dimensional characters are mostly ones you’d want to avoid rather than spend a holiday with.
  35. Hits on all cylinders -- a smart blend of acting, direction, editing, design, costumes and effects.
  36. Allen the writer-director has gone tone-deaf this time around, somehow not realizing that the nonstop prattling of the less-than-scintillating characters almost never rings true.
  37. While Caine and young Milner make for amusing adversaries, it's nice to see Crowley paying respect to his elders by populating the retirement home with a number of familiar faces, including those belonging to Rosemary Harris, Sylvia Syms and longtime "Coronation Street" resident Thelma Barlow.
  38. The mental and physical landscape would do justice to an Atom Egoyan film, but in this film, the key dramatic moments feel as forced as they are predictable.
  39. Pitch-perfect performances bring it all home, particularly that of Danish leading man Mikkelsen.
  40. The result is a much more playable film than recent efforts, though Murphy will have to share the applause with young Yara Shahidi.
  41. The film is chock-a-block with extraordinary performances and no one will fault the filmmaking either. This is a well-made movie, make no mistake. It just suffers from a dysfunctional hero.
  42. Audiences willing to tune in to its blend of surreal fantasy, droll comedy and poignancy will be rewarded.
  43. Based on a true story that's perhaps less famous than some others but just as intriguing, this serious-minded — no Helen Keller jokes, please — period film is nonetheless quite entertaining and, finally, moving.
  44. A film that admirably tries to remain true to the slightly gritty spirit of its source material. Unfortunately, it also occasionally sprays the wall with maudlin touches and misjudged additions to the story.
  45. Yelchin delivers one of those performances that pop eyes... It's a breakthrough role.
  46. The comedy star's legions of fans will welcome the cheerfully crude proceedings as a return to silliness after several earnest, lower-key character turns. The melange of Middle East diplomacy, action absurdity, sexual healing and, when in doubt, hummus, wavers between muscular and middling. It's a surefire hit.
  47. Writer-director Richard Shepard assembles all the elements for a dark suspense comedy only to lose his way in a surfeit of plot mechanics and unlikely behavior.
  48. Ultimately, its success may depend on how emotionally satisfying audiences find this flirtation with Jewish mysticism.
  49. An exhausting pièce d’indulgence from the veteran video/feature director, who can never quite shape all the bric-a-brac, not to mention an all-star Gallic cast, into a workable whole.
  50. Although director Alan Taylor manages to get things going properly for the final battle in London, the long stretches before that on Asgard and the other branches of Yggdrasil are a drag.
  51. Laura Wade’s adaptation of her hit play, Posh, has sacrificed much of its savage comedy en route to the screen, and while the dark drama is never dull, its portrait of upper-crust entitlement run amok is seldom surprising either.
  52. Under Buscemi's overall smart direction, the acting is terrific.
  53. Not the worst but is very far from the best film the star has made in his career.
  54. Too much of what happens as the characters undergo their various brushes with failure and redemption feels predetermined, slapping what aims to be a much savvier film with a debilitating touch of the formulaic.
  55. Another effective civics lesson that, unfortunately, will probably never be seen by the people whose minds it seeks to change.
  56. The film’s restricted scope of analysis and limited selection of sources threatens to undermine its conclusions.
  57. Although more than a little meandering and self-indulgent, the film is likeable nonetheless thanks to its incisive characterizations and canny capturing of true-life moments.
  58. While it makes no bones about where its sympathies lie, these fictional stories show a genuine fascination with the role politics plays on both sides of such confrontations and how things can spin out of control with no single person to blame.
  59. Wavers between would-be satire and romantic drama, inhabiting neither mode convincingly.
  60. A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.
  61. The screenplay finds ways to make this more involving than the average flee-the-monster storyline and, by the genre's standards, direction and performances rate reasonably well.
  62. Effie Gray is an exquisitely dreary slice of middlebrow armchair theater which adds little new to a much-filmed story.
  63. Best appreciated for the winning performances of its trio of stars, who convey their characters' desperation with humor and poignancy.
  64. There is enough compelling adventure, awesome cinematography and dynamic stunt work involving horses to keep one entertained by Hidalgo.
  65. Here is a film about Japan made by Americans, shot mostly in the U.S. and, of course, in English. Once you accept these compromises in the name of international filmmaking, none is a real deterrent to enjoying this lush period film.
  66. The animation is splendid on what must have been, since this is not a studio film, a modest budget.
  67. In his 4:44 Last Day on Earth, the auteur imagines the apocalypse from an aging NYC hipster's perspective, hitting melancholy notes that may ring true for a small segment of the art-house audience but, without the compelling presence of Willem Dafoe, would have little hope at the box office.
  68. What Amir Bar-Lev and Charlie Lightening’s documentary provides that hasn’t been previously available is an amusing portrait of the backstage goings-on.
  69. Less an introduction to the green-burial movement than a portrait of one man who embraced it after being diagnosed with a terminal illness, A Will for the Woods is more sentimental than journalistic.
  70. Despite its late shortcomings, Going Away demonstrates Garcia’s ability to coax strong performances out of a relatively young cast.
  71. Bilal is a grand-scale, fast-paced animated adaptation that is both empowering and inspiring in its call for social justice and equality.
  72. Although laughs do come... the film is happy to observe wryly as boredom and failure threaten to overwhelm the men.
  73. Efficient enough to attract a cult audience.
  74. With an "Animal House"-ish deportment, Art School likely will entertain a sophomoric audience and etch some winning college-kid figures, but art house audiences will be disappointed by its paint-by-numbers storytelling.
  75. Even with its well-observed moments, the movie’s nonmusical interactions, whether reaching for laughs or poignancy, too often feel flat and forced.
  76. Short on both romance and humor.
  77. The look, styles, dialogue and attitudes all feel more 21st century than 1968, but this new Sparkle still sparkles more brightly than its 1976 namesake, which was a sort of rough draft for Dreamgirls.
  78. Some of these gags are hilarious.
  79. Ends up having all the satisfying substance of a supermarket impulse item.
  80. Hands of Stone is far from perfect, but it punches above its weight enough to prevent it from being easily dismissed.
  81. Woody's back on solid ground with his first memorable pic of the new millennium.
  82. It’s always entertaining to tag along with these attractive actors on their photogenic journey.
  83. With its overt nods to movies, nonlinear structure and purple-tinged dialogue, the self-conscious artifice of Hauck’s first feature can be suffocating. This narrative puzzle should be more fun than it is.
  84. Best of all is Holm, who is consistently hilarious as the sarcastic shrink from hell.
  85. Cheesy reality shows monopolize the TV schedule, but must they infect our multiplexes as well? Love, Etc., Jill Andresevic's documentary depicting the romantic travails of various New Yorkers, is a disturbing example of a trend that is to be soundly discouraged.
  86. Has its entertaining moments and boasts pungent performances from such supporting players as Ron Perlman and John C. McGinley, but never quite succeeds in managing its uncomfortable tonal shift from dark comedy to true-crime thriller.
  87. Attaining somewhat of a bad parody of a comedy, screenwriters Andrew Fleming and Pam Brady have slapped together a string of gags in a hit-and-miss dither. Some of it is quite brainy.
  88. Oroves nimbler and truer to its origins than last year's "Rodrick Rules."
  89. Bruno is only intermittently funny and all too often the "ambushes" of celebrities and civilians look staged. The movie is even a tad -- dare we say it? -- tedious.
  90. Amu
    The movie takes on the quality of a first-rate detective story.
  91. A failed cinematic experiment mainly notable for its fine starring performance by a pre-"Juno" Ellen Page, The Tracey Fragments provides more evidence (not that any was needed) that an extensive use of split-screen visuals is far more irritating than arresting.
  92. While Shearer admittedly makes an impassioned directorial debut, the film plays out like a data-heavy, extended investigative report with an academic emphasis on scientific findings over portraits of human suffering.
  93. Stylish but slight, Arnby's debut feature ultimately sticks within werewolf movie conventions, adding little fresh to the form.
  94. Brainy and balmy.
  95. This is a slap-dash effort whose producers threw money and stunts onscreen instead of the satirical gags and one-liners that made the old spy spoof so memorable.
  96. For all its fandom and self-indulgence, Dear Mr. Watterson does offer some insightful musings about the decline of comic strips in general, with their content ever shrinking due to the diminished state of the newspaper industry.
  97. The average age of the band's members is 62. They don't even bother to disguise that fact. These men look like your grandfather, right up until the downbeat. Then the magnificence of their playing sweeps away all concepts of age. Rock on.
  98. While the supporting players fall victim to their broadly conceived roles, Baio and Minter underplay charmingly, and actually manage to make us care about their characters despite their less than credible aspects.
  99. Squanders its potentially rich possibilities.

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