The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,267 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 Rapt
Lowest review score: 0 The Impaler
Score distribution:
6,267 movie reviews
  1. No
    Anchored by an admirably measured performance from Gael Garcia Bernal as the maverick advertising ace who spearheaded the winning campaign, the quietly impassioned film seems a natural for intelligent arthouse audiences.
  2. Tinged with sorrow, compassion, forgiveness and, ultimately, love. More than 25 years after his father's death, Nathaniel visits his father's architectural works and speaks to the people who knew him.
  3. All the action is staged with energy, but it gets relentless without anything really funny going on.
  4. Only Tarantino could come up with such a wild cross-cultural mash, a smorgasbord of ingredients stemming from spaghetti Westerns, German legend, historical slavery, modern rap music, proto-Ku Klux Klan fashion, an assembly of '60s and '70s character actors and a leading couple meant to be the distant forebears of blaxploitation hero John Shaft and make it not only digestible but actually pretty delicious.
  5. 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.
  6. Beguiling in its strangeness, yet also effortlessly evoking recognizable emotions such as loneliness and the feeling of being stuck in a dead-end town and life, this moody and gorgeous film is finally more about atmosphere and emotions than narrative -- and none the worse for it.
  7. While political and social context is kept to a minimum, the darkly poetic images they capture speak volumes about what the miners go through.
  8. Closed Curtain is a moody, intellectually complex film that requires good will and brainwork on the part of the viewer to penetrate and enjoy.
  9. Though it abounds in the kind of sardonic humor intrinsic to life’s absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails.
  10. Even a klutz could hardly make a bad movie about these compelling figures. Thankfully though, Guido Santi and Tina Mascara are superb filmmakers, fully alive in their terrific film Chris & Don: A Love Story to all the undercurrents of art, social class, sexual orientation, challenging relationships and, most especially, the touching love story at the heart of their film.
    • 81 Metascore
    • 70 Critic Score
    A slight anecdote expanded to slightly beyond its natural length, The Empty Hours is nevertheless time well spent.
  11. Writer-director Adam Leon’s debut feature, Gimme the Loot, is a scrappy, funny, warmly observed delight from start to finish.
  12. Bolstered by a career-best performance from Mickey Rourke and outstanding work by Marisa Tomei and Evan Rachel Wood.
  13. A quietly marvelous travelogue condensing months' worth of observation into a single sleepless night, Bill and Turner Ross's Tchoupitoulas follows their widely praised "45365."
  14. For audiences willing to embrace ambiguity and let the characters and images weave their spell, this masterfully shot film played by the director’s stock cast is a treasure.
  15. Rescued from decay after the director's 2011 death and looking radiant in a 2K restoration, this quiet gem is a time capsule whose potential audience may be small, but will be transported.
  16. Dramatically gripping while still brandishing a droll undercurrent of humor, this beautifully made film will certainly be embraced as one of the best Bonds by loyal fans worldwide and leaves you wanting the next one to turn up sooner than four years from now.
  17. A greater argument for music education in our secondary school curriculum can't be made than Mark Landsman's doc about a Texas high school funk band that tore up the music scene from 1968 to 1977.
  18. Poetically composed, with marvelous lumps of wit and perspective, Of Times and The City is a masterwork.
  19. Though certainly not for everyone (and not for kids of any age), the regret-tinged film displays a distinctive voice and will be embraced by devotees of offbeat animation.
  20. Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress.
    • 81 Metascore
    • 70 Critic Score
    A captivating if somewhat conventional documentary, Ballets Russes is a paean to the groundbreaking, 20th century ballet troupe that began as a loose group of Russian refugees, metamorphosed into the Ballet Russe de Monte Carlo and eventually split into two competing companies.
  21. The story's acceleration from anxiety to panic to hellish chaos is expertly managed, but more impressively, so is the control of internal narrative logic.
  22. The best one yet.
  23. Danfung Dennis presents a powerful depiction of the horrors and daily violence of our ongoing war in Afghanistan.
  24. John Travolta takes on John Waters in Hairspray, and the result is anything but a drag in this appealingly goofy, all-singing, all-dancing screen adaptation of the Broadway musical based on the 1988 film.
  25. The gorilla is great, the girl terrific, sets are out of this world, creatures icky as hell, and the director clearly does not believe in the word "enough."
    • 81 Metascore
    • 70 Critic Score
    Bloodhounds will lick their lips experiencing the re-launch of Kinji Fukasaku's trendsetting Battle Royale (2000) with 3D effects, which basically make the splatter scenes gorier and stickier.
  26. Besides his sure gift for incisive characterizations and acerbically witty dialogue, Johnson also displays a strong visual sense, with the film shot and edited for maximum effect.
  27. Only fitfully does the film manage the kind of lift-off as that achieved by Pynchon's often riotous 2009 novel and, most disappointingly, it offers only a pale and narrow physical recreation of such a vibrant place and time.
  28. Some years from now, Starred Up, a rough, violent and, to American ears, half-indecipherable British prison drama, will be remembered as the film that announced a new star, Jack O’Connell.
  29. Darius Khondji's cinematography evokes to the hilt the gorgeously inviting Paris of so many people's imaginations (while conveniently ignoring the rest), and the film has the concision and snappy pace of Allen's best work.
  30. A flawlessly executed character study.
  31. The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal.
  32. The dissected minutiae of this adultery drama unfortunately doesn't add up to a very original or moving whole.
  33. While things get a tad buckled town in mayhem and special effects throughout the film’s busy final reels, Wright spends enough time sketching out his mischievous middle-aged men so that their journey...feels worthwhile and even meaningful for a few of them.
  34. The film is a captivating, sobering look at the world’s endangered aquatic species, but it’s also a frightening revelation of what methane and carbon are doing to the ocean.
  35. No true fan of science fiction -- or, for that matter, cinema -- can help but thrill to the action, high stakes and suspense built around a very original chase movie.
    • 81 Metascore
    • 80 Critic Score
    It's a splendid microcosm of contemporary China's aspirations and shortcomings.
  36. It is an intelligently written piece that only falters during the finale.
  37. Cheerfully yet poignantly exposing the struggles, anxieties, disorders and obsessions of ordinary people, this is a film as odd as it is charming.
  38. 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.
  39. What makes this film such a warm and touching portrait is that it reveals a woman who, even at her lowest, never loses her sense of humor.
  40. A moving and effective film whose subject may lack the hot-button boxoffice appeal of the director's "An Inconvenient Truth" but is at least a crisis practically everyone agrees actually exists.
  41. Retains considerable entertainment value on the strength of Herzog's never-dull, very personal narrating style.
  42. A fascinating account of its subject's self-torture over his inability to stop one of the 20th century's greatest tragedies.
  43. The arc and uplift of the story might be familiar, but thanks to DaSilva’s magnetism and skillful direction, this is way more than a conventional weeper.
  44. The director and screenwriter downplay the conventional melodrama inherent in the situation in favor of emphasizing how practical problems should be addressed with rational responses rather than hysteria, knee-jerk patriotism or selfish expedience.
    • 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.
  45. A riveting Argentine thriller spiked with witty dialogue and poignant love stories.
  46. Not merely a sitcom of cultural clash. Screenwriter Angus Maclachlan has delicately etched a compelling portrait of a way of life whose decencies and simplicities are often dismissed as being "unsophisticated."
    • 80 Metascore
    • 80 Critic Score
    This poetic portrait of simple Japanese life immerses you in the elegance of the ordinary.
  47. No question, watching this film is a tough go. Horror films cause less seat-squirming.
  48. 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.
  49. An affecting film that manages to find glimmers of beauty in the encroaching bleakness, and coaxing richly dimensional performances which, like Maria's photographs, transcend the conventionally black and white.
  50. The sobering message of the film is that independence doesn’t really mean anything in Africa if you’ve got resources that richer countries have an interest in and a general population that remains woefully poor and uneducated.
  51. There is no denying the emotional impact of the story, which is powerfully conveyed in this important, deeply moving documentary.
    • 80 Metascore
    • 90 Critic Score
    It is neither a very happy or driving picture. But it is intellectually daring and marks an important breakthrough in the growing up of the Hollywood film.
  52. 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.
    • 80 Metascore
    • 80 Critic Score
    Genuinely sweet, beautifully constructed documentary.
  53. 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.
  54. What a relief to escape the series' increasing bondage to high-tech gimmicks in favor of intrigue and suspense featuring richly nuanced characters and women who think the body's sexiest organ is the brain.
  55. A richly rewarding but often very disturbing, even harrowing work.
  56. It's a tough and cerebral but finally illuminating film.
  57. There are so many witty touches and sharp little observations here that The Strange Little Cat can be forgiven for ultimately making no dramatic statement.
  58. If ultimately the highly talky Saraband comes across as a minor entry in the canon, it nonetheless marks a dignified farewell for one of cinema's greatest directors.
  59. By simply contrasting short sequences that each tell a small story, Wiseman constructs a much larger mosaic.
  60. Schickel's documentary, narrated by Sydney Pollack, breaks no new ground stylistically, but it is a well-organized, informative and inevitably entertaining portrait of the man who revolutionized screen comedy and who arguably became the first mass-market, commercialized media figure.
  61. A bold film both in its storytelling strategies and its filmmaking logistics.
  62. A deeply satisfying pop biopic whose subject's bifurcated creative life lends itself to an unconventional structure.
  63. A picture whose tone wanders between arid academic exercise and something close to parody of the more pretentious trends in current auteur cinema.
  64. Tale of Tales combines the wildly imaginative world of kings, queens and ogres with the kind of lush production values for which Italian cinema was once famous. The result is a dreamy, fresh take on the kind of dark and gory yarns that have come down to us from the Brothers Grimm and Charles Perrault, only here they're pleasingly new and unfamiliar.
  65. Well-made and acted Coen Brothers remake lacks the humor and resonance that might have made it memorable.
  66. Its bursts of lightning-fast swordplay interrupt long, still stretches of misty moonlit landscapes and follow a pure literary style more than current genre expectations.
  67. This everything-but-the-kitchen-sink approach not only makes for pacey entertainment, it also allows director Christopher Bell to delve deep into the matter at hand.
  68. A delightful and uplifting study of kids and families by Japanese director Hirokazu Kore-eda.
  69. But even if What Richard Did is sometimes a little too understated for its own good, this is still a classy piece of work which convincingly captures the emotionally complex, morally murky texture of real life.
  70. Although the film might have benefited from a deeper investigation of the background to the conflict between Russia and Ukraine, the vivid scenes of protest in the capital city of Kiev supply undeniable power.
  71. This impeccably assembled and argued film represents a brave, timely intervention into debates around the organization that have been simmering for some time.
  72. 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.
  73. 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.
  74. The two main characters are both so funny, human and touching that Sunset Story ultimately possesses an emotional quality missing from many similarly themed efforts.
  75. Fast and dangerous, Miss Bala is a hair-raising actioner.
  76. Consequently, though it's difficult to work out what's going on, it's never boring.
  77. It's caustic, irreverent, constantly amusing and a tiny bit rude. Not a lot, though. This isn't the "Beavis and Butt-Head" or "South Park" movie. It's almost -- dare I say it -- charming.
  78. Finders Keepers charts out a screwy insight into humanity that is usually only captured in the minds of twisted cartoonists.
  79. Nutty, arcane and jaw-dropping in equal measure, this is a head-first plunge down the rabbit hole of Kubrickiana from which, for some, there is evidently no return.
  80. A "little" film with a great reach.
  81. A deeply dispiriting portrait of the systemic persecution of the LGBT community in Uganda, the country that seems to be ground zero for homophobia.
  82. This is a marvelous family story, tapping into all sorts of childhood dreams and nightmares involving Mommy, monsters and heroic youngsters. Selick's imaginative sets and puppets are in perfect pitch with Gaiman's fantasy.
    • 80 Metascore
    • 70 Critic Score
    Thanks to the script which invests the smallest scenes with dramatic significance, Tokyo Sonata enthrals audiences for the first hour with the pacing of a thriller.
  83. Thoughtful and less sensationalistic than its premise might suggest, it's made for arthouses and offers a fine showcase for costar Rutger Hauer.
  84. Long deemed unfilmable, the 18th century novel finds the perfect interpreters in director Michael Winterbottom and actor Steve Coogan.
  85. Moviegoers who know their American political history will respond to the film's immediacy and forgive the film's tight focus and narrow view. Anyone hoping for an entertaining drama about newsmen and politics along the lines of "All the President's Men" will be disappointed.
  86. Grippingly depicting the ensuing tensions that constantly threaten to spill over into violence — even while raising discomfiting questions about the scope of First Amendment rights — the film is a nail-biter from start to finish.
  87. A stunning documentary that not only beautifully elucidates a nearly forgotten incident but touches on crucial themes involving isolation, sanity, self-worth, impossible dreams, the nature of heroism and limits of human endurance.
  88. As action, it's niftily executed, the suspense neatly built, and the shocks expectedly surprising.
  89. Arthouse audiences could drink this down like a glass of Chardonnay.
  90. A brainy blend of farce and heart, this is one of those movies that veteran moviegoers complain they don't make anymore.
  91. 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.

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