The Hollywood Reporter's Scores

  • Movies
  • TV
For 6,027 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 Boyhood
Lowest review score: 0 Beyond Honor
Score distribution:
6,027 movie reviews
  1. As drama the film mostly serves to illustrate the two sides of this crucial social debate in Africa.
    • 91 Metascore
    • 60 Critic Score
    The chosen style of animation leads to a distracting choppiness that renders the movements, gestures and facial expressions of the interviewees unconvincing. The other problem is that, memory naturally being something that returns in fits and starts, the film is rarely able to sustain any consistent narrative thrust.
  2. Despite its successful attempts to show how oil has affected everyday citizens in nearby Nigeria, the film remains fairly dry.
  3. The film clearly wishes to explore the topic of children having children, but it only inspires a great desire to smack them both.
  4. There are eight individual decisions to be made here, yet Beauvois never humanizes any of his monks. The film instead consumes itself with songs, communal prayers and nightly meals.
    • 84 Metascore
    • 50 Critic Score
    Hard luck conspires with bad sex in this unspectacular Austrian tale of crime and punishment.
  5. The film captures the energy, the stresses and the tension of people striking punching bags and each other but without narration, it all feels a bit random and uninteresting.
  6. A penchant for suffocating close-ups and an overabundance of scenes that go on far too long mar Abdellatif Kechiche's The Secret of the Grain, an otherwise engaging drama about an immigrant Arab family in France.
  7. Impressive in parts, but wildly uneven as a whole.
  8. Very much a work of its time, the documentary offers unique perspectives for fans of both the saxophonist and the pioneering filmmaker, but is unlikely to attract a broad audience beyond those camps.
  9. Atmospheric but pedestrian, it is a retelling of the classic tragedy of all civil wars, from the U.S. to Vietnam to England, where brother is pitched against brother.
  10. Turns Jane Austen's nimble satire into a lumbering gothic romance.
  11. Trite, grim and feebly provocative.
  12. The project suffers badly from being largely improvised as the pair fall back on familiar impressions and old jokes. Lazy and indulgent, it smacks of being what the British call a "jolly," that is a freebie with no obligation to turn in work afterward.
  13. Jewish and academically inclined audiences worldwide will respond to numerous aspects of this unusual drama, although it is paradoxically both too broad and too esoteric for the general art house public.
  14. Ultimately, the heavy-handed and annoyingly obvious aesthetic wears thin.
  15. All the action is staged with energy, but it gets relentless without anything really funny going on.
  16. The ultimate effect of [Östlund's] studied techniques is more restricting than beneficial, which, combined with a protracted running time, faintly self-righteous air and a perplexing, misguided coda, produces a sense of letdown at the end despite the strength of much that has come before.
  17. The dissected minutiae of this adultery drama unfortunately doesn't add up to a very original or moving whole.
  18. There's little in the way of genuine depth, complexity or nuance here, Diaz instead seeks to convey the illusion of profundity by having various characters throw around weighty social and philosophical verbiage in thuddingly sophomoric fashion.
    • 80 Metascore
    • 50 Critic Score
    Michelle Williams does her best but she cannot prevent Kelly Reichardt's Wendy and Lucy, a weak tale about being broke and on the road in rural America, from dwindling into boredom.
  19. Three Times offers a careful examination of the changing ways people have reacted to each other during the past 100 years. As such, it's an interesting essay but certainly a minor work from a master.
  20. The Queen of Versailles will prompt loathing not only among the so-called 99 Percent, but among those in the top 1 percent who would like someone more sane to represent them on camera.
  21. By this time, cinematographer Fred Kelemen's mostly stationary camera has revealed about all there is to see in a fine array of textures in such things as the wooden table, the rough floors, the walls of stone, the ropes on the horse and the skin on the boiled potatoes. That does not, however, make up for the almost complete lack of information about the two characters, and so it is easy to become indifferent to their fate, whatever it is.
  22. A picture whose tone wanders between arid academic exercise and something close to parody of the more pretentious trends in current auteur cinema.
  23. The premise of this Hungarian/German/Swedish co-production is solid, even if the execution feels a little slack and the running time too long.
  24. If ever a film cried out for the 3D treatment, it's The Mill & the Cross, an ambitious but frustratingly flat attempt to explore, analyze and dramatize a masterpiece of 16th-century art.
  25. Acutely observed but gloomy and lacking narrative, it tells of 12 months in the life of a decent but dull suburban couple and their friends, most of whom you would go out of your way to avoid at a party.
  26. So like much of this film, the viewer is turned into an observer. You never feel close enough to the action, either in the ring or in the kitchens, living rooms and tough streets where the story takes place. The characters engage you up to a point but never really pull you in.
  27. The film doesn't really manage to sustain attention through its brief running time. But it is heartening to see that the filmmaker, now in his mid-80s, is as passionately engaged as ever.

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