The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,172 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Me and Earl and the Dying Girl
Lowest review score: 0 Material Girls
Score distribution:
8172 movie reviews
  1. The film seems nearly writer-free. Absolutely no time gets wasted on story, character development or logic.
  2. Just lousy.
  3. As puerile and go-nowhere as the script is, Clement and Berry are more successful than their costars at making the dialogue their own. Clement even gets a laugh or two. But be assured that the pic's big reveal is not worth the wait.
  4. It's something you'd think only the crassest of Hollywood producers would come up with - injecting sex appeal into an event as ghastly at the Nanjing massacre - but it's an element central to The Flowers of War, a contrived and unpersuasive look at an oft-dramatized historical moment.
  5. This is a movie drowning in flamboyant design elements and in need of a stiff shot of enchantment.
  6. Stacy Keach provides a bit of relief from all the oppressive earnestness in his brief appearance as Mia’s grandfather, evoking a depth of feeling otherwise missing here.
  7. The acting is overly broad, so even the dimmest light bulb in the audience gets the gags.
  8. The filmmakers attempt to inject some life into their dubiously thin narrative by incorporating sequences shot at actual haunted houses that favor more elaborate shock tactics.
  9. Sometimes, deadpan observation of the mundane isn't Jarmuschian. Sometimes it's just dull.
  10. Featuring murky visuals, an even murkier narrative that lamely sputters to its conclusion, and frequently amateurish performances — the effectively low-key Isabelle is a notable exception — the film never explores its undeniably disturbing issues with enough thematic depth to compensate for its ragged execution.
  11. Beerfest is tedious and, at 112 minutes, too long to sustain a sophomoric, one-joke comedy even for the presumed target audience of older male teens and the college-age crowd.
  12. Fails to exploit the myriad comedic possibilities, settling instead for broad, unconvincing slapstick aimed at 12-year-olds and gags Shakespeare would have rejected as ancient.
  13. The story is told in a hammer-on-anvil manner that evinces no gift for social satire or sharp cultural insight.
  14. This silly film does nothing to enhance Taiwanese auteur Tsai Ming-liang's reputation. The acting is below par, the mise-en-scene is clumsy and the structure is lazy.
  15. Completely lacking in visual, narrative or stylistic coherence, the film also suffers from cheap-looking visual effects and poorly staged and edited action sequences that will not exactly please the fanboys.
  16. Hank and Asha takes an unremarkable situation and renders it completely banal.
  17. Garishly unattractive to look at and lacking the spirit that made Wonder Woman, which came out five months ago, the most engaging of Warner Bros.' DC Comics-derived extravaganzas to date, this hodgepodge throws a bunch of superheroes into a mix that neither congeals nor particularly makes you want to see more of them in future. Plainly put, it's simply not fun.
  18. The ‘70s recreation is reasonable -- there are plenty of vintage cars and pop tunes of the moment -- but the characters never register beyond the surfaces of the scenes despite being equipped with long-festering resentments and grudges.
  19. It is unlikely that a lot of viewers come to see a Step Up film for convincing dialogue or psychological insight into a group of young things trying to make it big in a ruthless industry. But there’s barely any humor that doesn’t feel third-rate and most of the plot threads are so thin that All In occasionally feels like a satire of a dance film.
  20. Feste, who has one previous effort as a writer-director, last year's "The Greatest," fails here to do the most basic thing -- give an audience a rooting interest, or any interest at all, in these four troubled people.
  21. This stupefying dull mockumentary purports to explore themes of media manipulation and political propaganda, but whatever points it’s attempting to make are buried amidst the ponderous goings-on that will result in a quick exit from theaters.
  22. Straining mightily for a mythic quality and reaching a predictably melancholic, violent conclusion, Road to Paloma mainly comes across as a vanity project star vehicle.
  23. Gratingly unfunny groaner littered with zero-dimensional, unlikable characters and hackneyed, threadbare comic setups.
  24. This dour, uninspired, Hispanic-themed variation on the profitable "Step Up" dance movies is unlikely to similarly rouse teens.
    • 44 Metascore
    • 30 Critic Score
    2 1/2 hours of shouting, gesticulating, pratfalls and groin kicks will leave viewers with an MSG headache.
  25. The English term "shambolic" best describes a slow-paced, bloated and self-indulgent picture that combines science fiction, sophomoric humor and grisly violence soaked in a music-video sensibility.
  26. A gay auto mechanic comes out to his straight buddies in Fourth Man Out, but the shortage of dramatic texture, psychological insight or credible sexual tension in this toothless brom-com means he might as well be telling them he has a cold.
  27. The results might make for some swell production stills, but as a motion picture, Teknolust never really makes it alive out of Hershman's head.
  28. It's one of the worst performances Cage has given — and perversely, since he's playing a madman, it contains none of the unabashed weirdness that has made some bad Cage performances guilty pleasures.
  29. An examination of a sexual relationship that's about as viscerally explicit as hardcore can get...But as satisfying viewing experiences go, the film comes up mighty short in terms of story, interesting characters and technical prowess.

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