The Hollywood Reporter's Scores

  • Movies
  • TV
For 5,110 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 Festival Express
Lowest review score: 0 Material Girls
Score distribution:
5,110 movie reviews
  1. The film’s reluctance to fully explore its provocative moral conflict renders it terminally bland.
  2. While Anderson excels in the film’s many moments of digital doom-and-gloom, he can’t deliver a single authentic emotion between the two star-crossed leads, leaving us with a sooty aftertaste of having sat through one very loud rendition of Titanic in togas.
  3. She's (Milla Jovovich) constantly being besieged by a seemingly never-ending series of monsters, and we -- at least every couple of years or so -- are forced to sit through yet another installment of the mind-numbing series.
  4. Has little to say to moviegoers. Goldberg's direction is all flash and no substance, and his story and characters offer little reason for viewers to empathize with such self-pitying characters.
  5. It’s a waste of a good cast as well as a serious trip-wire for McCarthy, who may know what’s best for her talents but, on the evidence, needs a deft-handed outsider to make sure she’s maximizing them.
  6. Strictly for the Beliebers.
  7. Homefront is sufficiently silly and low-down to be entertaining on a certain marginal level, but it wouldn't appear that those involved, with the possible exception of Franco, approached this with the idea that they might be making good trash; it looks too elaborate and costly for that and the script exhibits no self-aware humor.
  8. Features sitcom-style stock characters and situations, not to mention the sort of ethnic stereotypes to be found in TV ads for fast-food Mexican restaurant chains.
  9. Embalming the simple and simplistic yarn in an amber glow that is all but suffocating and banishing from it any traces of humor and spontaneity, director Scott Hicks serves up this treacly tale with absolutely no trace of self-consciousness about the material's cliches or simple-mindedness.
  10. With its clichéd characters and situations, formulaic subplots (Alexandre neglects his grad student daughter to concentrate on his career) and overly cutesy comic tone, Le Chef is a cinematic dish best sent back to the kitchen.
  11. Alas, this is just film ugly.
  12. We can be grateful to a stellar cast and some discipline on the part of Matt Aselton, a commercials director making his feature debut, that Gigantic doesn't go completely overboard. Nevertheless, the film will appeal mostly to festivals and adventurous audiences.
  13. The end product is surprisingly charmless -- a shrill "Devil Wears Prada"/"Bridget Jones"/"Sex and the City" knockoff that keeps threatening to fall apart at the seams.
    • 38 Metascore
    • 20 Critic Score
    Cena is no Jason Statham. His stolid seriousness sucks the life right out of any scene in which he's required to speak. It's a bad sign when you repeatedly wish a runaway trolley would silence the hero.
  14. The film plays like a garish melodrama that reproduces the most ham-fisted, polemical aspects of "Crash."
  15. The "Dexter" star gives it his all in this indie comedy about a 35-year-old unemployed man coping with various romantic and life crises, but by the end of this terminally cute effort you'll wish that he just stop moping and kill somebody already.
  16. Everything is spelled out literally and at a stultifying pace, in a story that might have worked onscreen as either heightened melodrama or farcical comedy. Instead Fontaine, who is not exactly blessed with a light touch, opts for misplaced sincerity.
  17. A top-notch varied group of actors, no doubt attracted by the colorfulness of their roles, has been assembled, but their hardworking efforts are ultimately done in by the supremely pretentious nature of the material.
  18. Paper Man is a bad idea, and the film, despite a few brave and good performances, never recovers from awkwardness of its premise.
  19. Coming across as more than a little desperate in its unrelenting freneticism, Think Like a Man Too possesses none of the charm of its predecessor. By the time the seemingly endless film reaches its conclusion, you’ll wish that what happened in Vegas had stayed in Vegas.
  20. Ill-advised and amateurishly executed, Ass Backwards begins with a passably funny concept and runs it into the ground within 20 minutes.
  21. Witless, excessive and ultimately boring gore-a-thon.
  22. Staggeringly misjudged in virtually every department, from the wannabe effervescent script to Johnny Depp's dopey hairdo.
  23. The film doesn't just fail, it actually gets sillier by the minute.
  24. Although it displays far more imagination than is usual for such teen-oriented fare, After the Dark ultimately sinks under the weight of its pretensions.
  25. Odd too, for a film that wants to correct impression anyone had as to the abilities of black U.S. soldier in combat, are the ethnic cliches about Italians and Germans, to say nothing of rednecks.
  26. Arriving eight years after the lame third installment in Dimension's profitable series, this seems like far too little way too late.
  27. An indie ethnic comedy clearly hoping to become the Jewish equivalent to "My Big Fat Greek Wedding," this well-timed offering, which arrived in time for Passover, is unlikely to have that sort of crossover appeal, or any appeal at all, for that matter.
  28. It's discouraging to witness a filmmaker who clearly yearns for the indie world yield to the temptations of mindless movie manufacturing. At least Figgis made it as soulless as possible.
  29. Smultaneously silly, ostentatious and terribly boring.

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