The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,161 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Harry Potter and the Goblet of Fire
Lowest review score: 0 Movie 43
Score distribution:
5,161 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. 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.
  13. A film that seems drained of life and ideas rather than sustained by them.
  14. Splinter is a bad idea, borrowing body parts, as it were, from old horror flicks to genuinely unsatisfying results.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.
  24. 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.
  25. Bored audiences enduring this talky, aimless film might wish that they, too, were watching the porno film that is seen only in brief snippets.
  26. Casa feels like a miss. The digging into each of these women's lives stays shallow and seldom uncovers anything unexpected.
  27. 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.
  28. An admirable idea in theory proves to be a real slog to sit through in Everyday.
  29. 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.
  30. 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.

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