The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,848 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 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Great Museum
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5,848 movie reviews
  1. A modern cinematic equivalent of the sort of tired sex farces that used to populate Broadway with regularity, If I Were You simultaneously exploits and squanders the talents of its star, Marcia Gay Harden.
  2. Representing one of Robin Williams' last films, A Merry Friggin' Christmas lives up to its bah, humbug title. Not only because it's terrible, although it is, but rather because one desperately hoped that the beloved actor would go out on a high note.
  3. Whatever sociological interest it engenders is smothered by its hamfisted execution, including stubbornly lugubrious pacing, overly self-conscious performances and awkward dialogue and voice-over narration that all too bluntly lays out its themes.
  4. There’s scant emotional, aesthetic or intellectual gratification in this grainy, flat-looking portrait of the artist as a young nut job.
  5. Relentlessly unpleasant and nihilistic in its approach and execution, The Divide is best appreciated as a virtual instruction manual on how not to behave during a crisis.
  6. Claustrophobic, tedious sci-fi thriller.
  7. Dirty Deeds is as feeble as a teen comedy can get.
  8. While the 1986 edition was no classic, it's light years better than this update, which naturally opened without being screened for those ultimate villains, the critics.
  9. Featuring stereotypical characterizations and painfully awkward dialogue, the film treats its dramatic themes with a wince-inducing shallowness. Virtually nothing in the drawn-out proceedings works on any level, and the characters are so inherently unlikeable that being in their company is as painful for viewers as it is for them.
  10. Playing somewhat like a juvenile version of "Rosemary's Baby," this inept, incoherent attempt to cash in on young girls who can't buy a ticket to the R-rated "Saw V" (or are too lazy to sneak in) will be out of theaters long before the Halloween pumpkins start to rot.
  11. Best viewed as a glossy advertisement for the venerable military academy that is its focus, Field of Lost Shoes doesn’t exactly score points for objectivity.
  12. The endless parade of parodistic gags displays no semblance of wit, with the filmmakers content to perfectly ape the silliness of the era's music videos and such fashion statements as wearing a single cross earring.
  13. With such an in-house cast of extended Coppola family sparklers, one would think things couldn’t go too wrong in the comedy department, but they have little chance to oil the wheels of a creaky script written around Sheen.
  14. Misses nary a single cliché in its visually disorienting and narratively confusing proceedings.
  15. Unfortunately, John Moore has directed these sequences in a way that makes the incidents look so far-fetched and essentially unsurvivable that you can only laugh.
  16. The sheer nastiness of the jealous one-upmanship and angry sabotage puts a damper on the yuletide comedy. You're much better off watching a DVD of "Bad Santa."
  17. With a frost-bitten script whose skeletal plot cuts and pastes bits from innumerable other survival yarns, the biggest surprise the film offers is that four people were required to write it.
  18. Cory Monteith in one of his last screen roles may be the best thing going for McCanick, a tired cop drama that recycles predictable narrative elements almost to the point of meaninglessness and then substitutes wildly improbable developments in place of actual originality.
  19. The clunky narrative doesn’t ring true for a second, and the hackneyed dialogue is even worse.
  20. A no-budget "Alien" ripoff with little reason to exist beyond the few creature-effects shots its design team now can add to its reel, Roger Christian's Stranded might leave viewers yearning for the director's "Battlefield Earth" -- a film that, terrible though it was, at least couldn't be accused of a lack of ambition.
  21. Neither the dramatic nor action elements are remotely compelling, with the nearly two-hour running time feeling interminable.
  22. Although ultimately far too muddled in its concept and execution to be anything more than a curiosity, The Scribbler does manage the dubious feat of being one of the strangest films you’re likely to see this year.
  23. Mortdecai is an anachronistic mess that never succeeds in re-creating the breezy tone or snappy rhythm of the classic caper movies that it aims to pastiche.
  24. In terms of real horror, nevermind sexual-politics provocation, "Grave" can neither re-create its predecessor's impact nor compete with stranger new beasts like Lars von Trier's "Antichrist."
  25. Runs 96 minutes but feels like so much more. There is only one gag.
  26. Inspirationally impaired and dramatically retarded.
  27. Ultimately, the film staggers under the weight of its pretensions, its plot spiraling into murky illegibility.
  28. Let's Go to Prison ultimately feels as long as a stint in the big house.
  29. This thoroughly repetitive, ill-conceived and poorly executed effort -- with an emphasis on the word "effort" -- defeats these two talented people more often than not.
  30. Viktor would be campy fun if it wasn't so relentlessly tedious.

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