The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,592 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 It Comes at Night
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
7592 movie reviews
  1. McAvoy and Radcliffe are actors with charm to burn, but it’s only in brief moments that their characterizations cut through the film’s pandemonium, while the jokes they’re called upon to deliver land with a thud.
  2. Sharing its title with a historic Reno hotel that's seen better days (or maybe not), El Cortez is a clumsy lump of ponderous pulp fiction with "Cooler" aspirations.
  3. Sex Tape is sexcruciating.
  4. It's getting increasingly difficult to avoid films as bereft of redeeming qualities as Deadgirl, an exploitation-horror hybrid best left to torture-porn fanboys and academics seeking to dissect the outer reaches of the contemporary young-male mindset.
  5. A thriller so fixated on red herrings that viewers may stop caring if anyone's really in danger, Gone is diverting but unlikely to linger long in theaters.
  6. Unfortunately akin to going to a dance club stone cold sober and wearing ear plugs. You get the gist of the general experience, but euphoria is far, far away.
  7. Pan
    What fun there is falls to Jackman, who gives the grand old man of pirate characters plenty of fresh and unusual wrinkles and emerges better than the others simply by virtue of playing a two-dimensional, rather than one-dimensional, figure.
  8. Now that the filmmaker has reached a certain age, she no longer seems to have her finger on her generation’s pulse. Case in point: The Hot Flashes, a ribald comedy whose menopause-referencing title is all too indicative of its pandering humor.
  9. Instant fodder for drinking games, Dangerous Men is a grand testament to its filmmaker's undeniable passion, tenacity and complete lack of talent.
  10. Assassin’s Creed is resolutely stone-faced, ditching the humdrum quips that are par for the course in today's blockbusters. But this is almost two hours of convoluted hokum that might have benefited from a few self-deflating jabs.
  11. There is no purpose to the film other than random blood splattering amid scenes of bondage, primitive savagery and S&M eroticism. The film is numbing and dumb with its hero indistinguishable from its villains.
  12. It's never fun watching a comedian's shrewdness ossify into shtick. Yet whatever incisiveness Ricky Gervais once had (and he had plenty, if The Office and Extras are any indication) is barely evident in the new Netflix-released satire Special Correspondents
  13. What's actually up onscreen in this vaguely ambitious but tawdry melodrama falls into an in-between no-man's-land that endows it with no distinction whatsoever, a work lacking both style and insight into the netherworld it seeks to reveal.
  14. The plotting here is so hopelessly tangled, clichéd, and bereft of psychological complexity that it's difficult to care what happens to any of these people.
  15. When the gags a movie is most confident in — the ones it uses three or four times, as if they were sure things — involve pushing unsuspecting pedestrians into a bush or riffing on "Bond, James Bond," something's wrong in the yuk factory.
  16. Only Diaz shows spark because the actress knows how to simultaneously play nice and be a nasty character, thereby gaining audience sympathy. Everyone else hits one note, and it isn't nice.
  17. This comedy whodunit generates more laughs than its predecessor, which is to say, two or three.
  18. A seemingly well-intentioned but deeply flawed film about dementia that becomes as erratic and misguided as its protagonist, Sharon Greytak's Archaeology of a Woman does no favors to those afflicted with cognitive disease or those hoping to understand them.
  19. Despite its high-profile cast and a sizable marketing push from distributor Summit Entertainment, audiences won't require any paranormal powers of their own to realize they've seen this one before.
  20. This overly convoluted and contrived farce features a typically scenic setting and an engaging performance by Helena Noguerra in the central role but otherwise has little to recommend it.
  21. It's a bad memory trip through the wasteland of movies past, swamped with bonehead dialogue, stock parts, cookie-cutter romance and gunked to the gills with generic techno-drool. [8 July 1992]
    • The Hollywood Reporter
  22. The movie only wakes up when Hart and/or Arkin are on screen (preferably together).
  23. The rather routine imitation of reality TV-style camera and editing techniques, along with uninspired special effects associated with Carson’s spiritual affliction, don’t attempt to break new ground but gain little by repeating familiar formulas.
  24. The action that follows is as broad and unconvincing as the characters involved: director George Ratliff manages to turn even dignified Ciaran Hinds into a ham.
  25. The direction is as flat as the script is thin, forcing actors to stumble through roles that make little sense. Costumes and sets border on the grotesque. Mehta is a fine enough filmmaker that this one can be written off as an aberration. Sometimes East and West really aren't meant to meet.
  26. The film rings false at almost every turn despite its naturalistic performances. Lacking emotional substance, it comes off as far too studied in its subdued intensity.
  27. A numbingly indulgent drama whose fine cast can't breathe life into a script that isn't nearly as self-aware as it thinks.
  28. Unfortunately, the power of the message is diluted by the pedestrian filmmaking, with the overall effect resembling a compendium of public service announcements.
  29. Where Attenborough's script lent an air of dignity to the shorter film, Allen's reading of Philip LaZebnik's cutesy narration has a canned feel, and is unlikely to connect with viewers too young to appreciate cliched humor about the joys of bachelorhood versus the duties of parenting.
  30. It's So Easy and Other Lies makes for a tedious cinematic experience that will only be appreciated by McKagan's hard-core fans. And even they're likely to come away less than enthusiastic.

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