The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,833 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Alive Inside
Lowest review score: 0 The Trouble with Terkel
Score distribution:
7833 movie reviews
  1. Running the gamut from social comedy to actioner to war movie, Clash is an original, often quite disturbing experience to watch.
  2. Amanda Knox makes for succinct, involving viewing — a true-crime doc that acknowledges the lingering debates over its subject's guilt while prompting one to ask: Why did anyone ever believe this outrageous stuff in the first place, much less cling to it for years?
  3. Becoming Bulletproof is as enjoyable as it is inspiring.
  4. The result is uniquely powerful, putting faces and human consequences to a political dispute that seemingly will never end.
  5. 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.
    • 78 Metascore
    • 80 Critic Score
    Carpenter creates excellent tension throughout and he avoids excessive blood and gore in the murder sequences. The violent actions are mostly implied more than graphically depicted, which serves to heighten the effect.
  6. Enlivened with droll wit and framed with robust sensitivity, O'Horten is an amusing and entrancing personal portrait. Succinct in its visualizations and crisp in its pacing, its deferential storytelling is in sync with its Odd subject.
  7. [A] small-scale but deeply moving documentary.
  8. Powerful enough to make even the most cynical believe in the ability of ordinary people to induce political change.
  9. Catherine Gund's Born to Fly works very well as a portrait of a maverick artistic sensibility, even if it will leave some viewers wanting more in terms of performance footage.
  10. More pictorially arresting than intellectually coherent.
  11. Nichol has created a loving valentine to all the iconoclasts who resist what the rest of the world defines as progress.
  12. The film is anchored by incisive characterizations rich in integrity and heart, and by an urgent simplicity in its storytelling that's surprisingly powerful.
  13. Engrossing and well-researched documentary.
  14. Once again Bier demonstrates just how misleading appearances can be, as she artfully removes the veneers concealing the dark truths locked away by her intriguing characters.
  15. Makes everything in the rival Marvel universe look thoroughly silly and childish. Entirely enveloping and at times unnerving in a relevant way one would never have imagined, as a cohesive whole this ranks as the best of Nolan's trio, even if it lacks -- how could it not? -- an element as unique as Heath Ledger's immortal turn in The Dark Knight. It's a blockbuster by any standard.
  16. The Lost City of Z is a rare piece of contemporary classical cinema; its virtues of methodical storytelling, traditional style and obsessive theme are ones that would have been recognized and embraced anytime from the 1930s through the 1970s.
  17. Blind Shaft, a well-acted and well-produced film, is a quiet though searing indictment of contemporary China.
  18. 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.
  19. 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.
  20. Throughout, the film's subjects convince us they're doing nothing more than being themselves, so much so that a cynical advisor told Sutton he should market his film as a documentary. That label would prepare potential viewers for Pavilion's lack of story, but it would make a lie of the movie's patient, finely drawn loveliness.
  21. Throughout, Wang makes a virtue out of necessity: Her on-the-run scoping and jarring cuts infuse the film with a sense of desperate danger befitting its subject matter.
  22. 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.
  23. The use of sign language, deafness and silence itself adds several heady new ingredients to the base material, alchemically creating something rich, strange and very original.
  24. This is a compassionately observed story told with unimpeachable naturalism and without a grain of sentimentality, propelled by a remarkable performance from Charlie Plummer that's both internalized and emotionally raw.
  25. Beautifully put together in just about every way, it will be potent stuff on the small screen but deserves its moment in theaters.
  26. David Yates, in his go at the helm, throws the emphasis on the gathering storm clouds even as Harry and his fellow wizardry students make further discoveries involving the opposite sex.
  27. Boasting a pitch perfect voice cast led by a terrific Ginnifer Goodwin as a righteous rural rabbit who becomes the first cotton-tailed police recruit in the mammal-centric city of Zootopia, the 3D caper expertly combines keen wit with a gentle, and very timely, message of inclusivity and empowerment.
    • 78 Metascore
    • 70 Critic Score
    Sustains a pervasive feeling of anxiety and suspense, despite an absence of dramatic conflict or resolution.
  28. Suffice it to say that what satisfies on one level raises questions on others, and that certain plot points mightn't play as well without someone as charismatic as Johnson putting them across.
  29. More than most adaptations, this is a film true to Shakespeare's practice of employing all means at hand to keep the crowd entertained.
  30. Accomplished and affecting art house fare.
  31. Jodorowsky keeps circling back to the question of who he is and how poetry is inextricably linked with how he experiences the world.
  32. Intense and physically powerful in the way it conveys its atrocious events, the film nonetheless remains short on complexity, as if it were enough simply to provoke and outrage the audience. It's a grim tale with no catharsis.
  33. This exercise in style and tongue-in-cheek melodrama from Canada's iconoclastic Guy Maddin will be lionized by admirers for its audacity, but will wear thin for many audience members, who will find it tedious and repetitive.
  34. Powered by two first-rate performances, Jorge Gaggero's debut feature is full of psychological nuance and keen social observation.
  35. Alternately haunting, inspiring and dreamily meditative, this is a visually majestic film of transfixing moods and textures.
  36. One of the finest costume dramas in a long while.
  37. Firing on all cylinders as a creepy thriller, police procedural and "All the President's Men"-style investigative newsroom drama, the smart, extremely vivid production oozes period authenticity.
  38. Exhaustively tracking the five-year battle to overthrow California’s ban on same-sex marriage, they distill the dense legal process into a lucid narrative while illuminating the human drama of the plaintiffs, and by extension, the countless gay men and lesbians they represent.
  39. An unnervingly powerful picture of atrocity.
  40. Only the film's slow pace softens its powerful message.
  41. The women of Motherland emerge as an entirely different class of heroines, demonstrating Diaz’s insight and compassion in documenting their experiences without judgment or condescension and allowing them to convey their own individual perspectives.
  42. Kedi eloquently taps into the mutual attraction between the cats and their people, as well as the animals’ complexity and resilience.
  43. Overall, though, the project brings enough good into this rough corner of the world that viewers can walk out with honest cause to be hopeful for its inhabitants.
  44. 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.
    • 78 Metascore
    • 80 Critic Score
    Wholly one-third of the country, some 11 million people, watched the finale. Marking's film is too astute to pretend that such fleeting things can bring about peaceful democracy, but it's also perfectly aware that they certainly can't hurt.
  45. Certainly for most audiences the viewing experience will prove not only tedious but bewildering.
  46. Bielinsky is a most expressive director, achieving considerable nuances and depths of emotion with characters' looks, gestures, body language and silences.
  47. There’s uncustomary warmth here and a sensitivity to the characters’ vulnerabilities that often is missing from this director’s work.
  48. Working with a script by first-time writer Rebecca Blunt, Soderbergh has made the sort of breezy, unpretentious, just-for-fun film that scarcely exists anymore, one almost anyone could enjoy.
  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. Tracy Droz Tragos works to get beyond us-versus-them simplicity in Abortion: Stories Women Tell, focusing on personal narrative over politics in a humanistic look at an issue that promises to remain divisive for the foreseeable future.
  51. Tickling Giants provides a comprehensive examination of Youssef’s career highs and lows while providing a vivid personal portrait of its subject whose cheerfulness and resolve began to wither in the face of constant threats to himself and his family.
    • 78 Metascore
    • 100 Critic Score
    With a delirious mix of the sublime and the silly, Hong Kong comedy king Stephen Chow Sing-chi has taken the kung fu comedy genre to new heights of chop-socky hilarity.
  52. Meru is an engaging and cumulatively exhilarating debut from wife-and-husband team Elizabeth Chai Vasarhelyi and Jimmy Chin.
  53. 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.
  54. Interspersing technical talk with a quick history of nuclear testing and other near-misses, the doc demonstrates how often situations like this arise.
  55. Scorsese has crafted a rip-roaringly gorgeous-looking, beautifully acted biographical epic. But while firing on all cylinders, there's something oddly distancing about the picture.
  56. At once impressive and indulgent, hypnotic and patience-inducing with its languorous rhythms. It is, in other words, decidedly not for everyone.
  57. If the feature film reached for, and often failed to achieve, great emotions to match its imagery, the non-contemplative Imax Experience seems even farther from this goal. Vastness and infinity are all fine and good, but the beauty of the universe tends to feel monstrous and inhuman without an element of human chaos to counterbalance it.
  58. One of the more effective entries in what has essentially become a documentary subgenre, the film focuses on the surviving Green Berets who recall their experiences with a combination of pride and sorrow.
  59. Like in all of the director’s work, psychologically reductive readings of the characters are absent, though intriguing performances give audiences a way into the material.
  60. Trapped is a succinct and heart-rending revelation of this complex and controversial subject. Most strikingly, it puts human faces on a social and personal issue that has been often engulfed by the invective surrounding it.
  61. Because it wants to be a primer on a serious subject, an exciting cinematic exposé and an argument for more openness and some kind of regulatory framework, the necessities of these different strands end up getting in each other’s way.
  62. While rambunctious and passably humorous, this offspring isn't nearly as imaginative and nimble-minded as the forerunner that spawned it.
  63. Christian Bale plays Dieter Dengler and this is one of the actor's most complex and compelling performances.
  64. Blue Ruin is a talented but sophomoric low-budgeter that straddles the divide between genre thriller and art piece with mixed results.
  65. Franco, who’s absolutely hysterical as the brooding, deluded Wiseau, leads a parade of familiar faces...delivering a winning, Ed Wood-esque blend of comedy and pathos that could very well earn its own cult status.
  66. This animated all-penguin musical is terrific fun.
  67. [An] evocative and atmospheric feature.
    • 77 Metascore
    • 70 Critic Score
    It's torture to watch Jiro Dreams of Sushi - if you are on an empty stomach. David Gelb's documentary on Jiro Ono, the 85-year-old sushi chef whose Tokyo restaurant received three Michelin stars is a paean to perfectionism and crafty bit of food porn.
  68. The Dark Horse is an emotionally potent story of redemption anchored by a heart-piercing lead performance from Cliff Curtis.
  69. Toback does a great job introducing the non-initiated to the sticky job of getting a film funded outside the studio system.
  70. Taken on its own undemanding terms and considered within its not very original framework, Joel Edgerton’s feature-length directorial debut is a pleasant — or pleasantly unpleasant — surprise, hitting its genre marks in brisk, unfussy fashion and raising a few hairs on the back of your neck along the way.
  71. It is a testament to the immersive immediacy of Victoria that the scale of its technical achievement only really dawns on you afterwards.
  72. Its awkward title notwithstanding, Mugabe and the White African offers the sort of narrative drama rarely found in documentaries.
  73. Throughout the film Moss traverses an astonishing range of emotions, from bliss to complete mental disintegration. She is fascinating to watch even when the film turns into a frustrating head-scratcher.
  74. It’s a relief to report that the final film is actually quite charming, thoughtful and as cuddly as a plush toy, albeit one with a few modern gizmos thrown in.
  75. The filmmakers' reluctance to over-explain character motivations has mostly kept their films out of the mainstream and will continue to do so here, but there's no shortage of impressions that resonate. And the performances of both Reynolds and Mendelsohn are fortified with deep feeling, working in admirable tandem.
    • 77 Metascore
    • 90 Critic Score
    Hong Kong writer-director Wong Kar-wai's "Chungking Express" is hip and entertaining... Technically, the film is first-rate, while all the principal performers are excellent. [9 June 1995]
    • The Hollywood Reporter
  76. A pictorially unusual but dramatically listless tale.
  77. What makes the film so accessible despite its controversial subject matter is Wnendt’s total command of tone, which is never vulgar or intentionally out to shock.
  78. Honest and well made but lacking a strong hook.
  79. Visually ravishing, thought-provoking and benefitting from just enough playfulness to set it apart from the nature-doc herd, the film is eco-relevant without being at all dominated by climate change, which is only one of many subjects discussed.
  80. Amusing but slight, the small-scale film is elevated by a spirited characterization from Geoffrey Rush as mercurial artist — is there any other kind in movies? — Alberto Giacometti.
  81. Calling itself a "vision" as opposed to a "film," Icaros attempts to conquer fear — of death, of blindness, of loss — by accepting the potency of a magic it knows it will never understand.
  82. Feeling more spontaneous and improvised than ever, this tale of chance encounters at a big film festival is easy on the eye and strewn with humorous gems, as it wryly reflects on the festival business and its denizens.
  83. Wild Tales opens and closes with a bang, and at its best is a riotously funny and cathartic exorcism of the frustrations of contemporary life.
  84. I, Tonya spins a convincing yarn despite, or maybe because of, its surfeit of unreliable narrators.
  85. Eliza Hittman's second feature is very much the work of a filmmaker with her own distinctive voice, combining moody poetry with textural sensuality to evoke the dangerous recklessness that often accompanies sexual discovery.
  86. For American viewers of an intellectual/historical persuasion, there could scarcely be any documentary more enticing, scintillating and downright fascinating than Best of Enemies.
  87. A chilly allegory whose antihero is both compelling and repulsive.
  88. Even if the now-veteran director lays everything on a bit thick, repeatedly makes many of the same points and lets things go on too long, he's still found a lively and legitimate way to tackle urgent subject matter that other filmmakers have found excuses to avoid.
  89. 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.
  90. Baumbach’s film for Netflix is more conventionally conceived than some of his best work but benefits from sterling turns from a wonderful cast, most notably Dustin Hoffman and, no kidding, Adam Sandler.
  91. 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.
  92. Though its cinematography is nothing to write home about, the action Alive and Kicking captures is so transfixing, one marvels that dancers can keep it up for five years, much less five decades.
  93. His new film acquires considerable urgency and raw emotional power in the closing stretch. But at just under two-and-a-half talky hours it's almost maddeningly protracted, maintaining a somewhat cold intellectual approach that might have been improved by greater emphasis on the beautiful scenes of intimacy, tenderness, naked fear and helplessness that punctuate the action.
  94. Though somewhat slow out of the starting blocks, this finally caustic drama, set in early 1980s Bratislava (then in Czechoslovakia), accumulates power and insight as it builds over the course of a tense parents-teachers conference, punctuated with the necessary flashbacks.

Top Trailers