The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,366 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Downfall
Lowest review score: 0 The Impaler
Score distribution:
7366 movie reviews
  1. The back-to-the-beginning approach unimaginatively goes through the motions, offering scant justification for its boring existence, at least from an artistic point of view.
  2. All the while, the music screams and clamors like an ignored child because director Xavier Gens and writer Skip Woods can't pump suspense into this inept mess.
  3. Although Rulin displays a compelling neurotic edge as the driven Emily, Chenoweth and Modine are unable to breathe much life into their schematic roles, while the supporting players are basically saddled with conveying a compendium of quirks.
  4. A low-rent monster movie that could well have been released by American International in the early 1970s, Primeval boasts a level of cheesiness that should well merit it a regular rotation on late-night cable.
  5. Simply weird. The funny has gone missing.
  6. All of [Cages's] natural charisma is unable to compensate for the plodding narrative and thin characterizations.
  7. Kingsglaive: Final Fantasy XV is so lacking in human interest, or even in merely satisfying action, it is difficult to imagine anyone wanting to pay to sit through it. What Takeshi Nozue's movie does offer is massive, vividly rendered landscapes of sci-fi/fantasy pastiche, home to mayhem that is prettier than it is involving.
  8. A certain derivative, deja-vu quality isn’t the only sin this lazy, numbingly routine, very occasionally amusing comedy commits.
  9. It's all quite a mess, with awkward performances, worse dialogue and a painfully protracted running time conspiring against any chance of enjoyment, even in a so-bad-it's-good guilty pleasure way.
  10. A dysfunctional drama.
    • 34 Metascore
    • 30 Critic Score
    Seldom has such great star power been marshaled in the service of a sillier movie than The Other Man.
  11. Stale as week-old bread and every bit as bland, the movie saddles a strong cast with a groaningly ineffectual script (courtesy of Michael LeSieur, who wrote 2006’s You, Me and Dupree) and wastes the director’s gift for bringing lived-in charm and feeling to broad comic premises.
  12. The film forms a near-perfect storm of misjudged decisions, with its implausible plot, irritating or outright-dislikeable characters, and strained attempts at “wacky” British humor that fall so flat they’re below sea level.
  13. A tepid ghost story filled with all the usual things that go bump in the night minus the somewhat crucial element of suspense, this bland effort from Sam Raimi and Rob Tapert's Ghost House Pictures is surprisingly devoid of the creepy, claustrophobic atmospherics that haunt the brothers' Asian work.
  14. Dripping with floridly phony dialogue that no actor should be forced to speak, this paternity mystery uses the Bosnian conflict as the manipulative backdrop to a preposterously overwrought and overlong melodrama.
  15. Although he can’t quite get a grip on guiding the lightweight narrative, Zada demonstrates a fluid visual style, particularly in the complex sequences filmed in the forest settings.
  16. This is the sort of bad film that can only come about as the result of misguided ambitions.
  17. Lead actor Johnny Simmons fits his role perfectly, his baby face giving him the suitable appearance of an overgrown adolescent. But the smutty, tired material with which he has to work is surprisingly devoid of laughs.
  18. Not even Douglas can redeem The Reach, the terminally silly and thoroughly disposable new thriller he stars in and produced.
    • 34 Metascore
    • 30 Critic Score
    Krakowski's heavy-handed overreaching is the fatal problem: It's impossible to believe this character, even as he softens late in the game, as a forgiving and familiar victim of awful parenting.
  19. By the time they're done with all the tinkering, "Scooby-Doo" ends up bearing as much a resemblance to Hanna-Barbera as the recent "Cat in the Hat" did to Dr. Seuss.
  20. While Isaac Feder's raunchy comedy gives the "Sixth Sense" star the opportunity to roll a condom over a banana and talk really dirty, it offers precious little to even the most undemanding audiences.
  21. The reductionist plot eventually forces both the protagonists and the filmmakers into a blind shaft without a productive exit strategy.
  22. Small-screen comic talent is all over Fresno, with key players from series including Parks & Rec, Arrested Development and Portlandia teaming up for a tale of two sisters stuck with a hard-to-dispose-of dead body. The feature, sadly, exhibits none of the smarts or agility that fuel those series.
  23. As with most found footage films, there’s a lot of tediousness, with the early proceedings resembling the sort of home movies from which anyone not directly involved would normally flee.
  24. Art fans might reasonably expect one of the world's most successful painters to display a distinctive or at least appealing visual sense here, but they will be disappointed by Yasutaka Nagano's pedestrian photography; the film fares even worse in terms of storytelling and pacing.
  25. Overlong and overstuffed with cliches -- the movie doesn't seem to realize how close it comes to comedy.
  26. Rather than engage in slow-build horror, Pascal Trottier's screenplay flips the switch into Poultergeisty chaos.
  27. A laugh-starved comedy that seeks to plug into the comic stylings of Mo'Nique for its energy and humor.
  28. A rote captivity drama with aspirations of sociopolitical relevance, As Good as Dead has nothing to say about torture or racism and little excitement to offer as compensation.

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