The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,274 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 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 American Hustle
Lowest review score: 0 Your Highness
Score distribution:
8274 movie reviews
  1. Dunkirk is an impressionist masterpiece. These are not the first words you expect to see applied to a giant-budgeted summer entertainment made by one of the industry's most dependably commercial big-name directors. But this is a war film like few others, one that may employ a large and expensive canvas but that conveys the whole through isolated, brilliantly realized, often private moments more than via sheer spectacle, although that is here too.
  2. Do not expect blazing emotional fireworks, just finely calibrated performances and deep reserves of inner torment.
  3. Anchored by a masterful performance by Timothy Spall in a role he was born to play, and gilded by career-best effort from DoP Dick Pope, working for the first time on digital for Leigh to bridge the gap between the painting and cinematography, Mr. Turner manages to illuminate that nexus between biography and art with elegant understatement.
  4. Tensely action-packed and muscularly directed by Kathryn Bigelow, this tale of an elite U.S. army bomb disposal unit in Baghdad is a familiar story in new clothes, targeted at the young male demographic.
  5. It’s an audacious concept, and Docter’s imagination, along with those of his numerous collaborators, is adventurous and genially daft enough to put it over.
  6. Hysterically funny yet melancholy comedy.
  7. Director David Weissman brings a rewardingly fresh and personal perspective to the subject.
  8. The film abounds with pinpoint insights into its mildly rebellious heroine's hunger to shed the restraints of home and Catholic school and bust into an independent life, and does so with a wealth of keenly observed detail.
    • 94 Metascore
    • 100 Critic Score
    An epic success and a history-making production that finishes with a masterfully entertaining final installment.
  9. It is a tremendous achievement that shines a light on the way many countries use criminals to further their domestic and international goals. Politically informative, it also offers great drama with excitement and suspense, and no little tragedy.
  10. Berliner crafts a quietly touching and illuminating memento mori from the steady dying of an intellectual light.
  11. Magnificent in its simplicity and its relentless honesty about old age, illness and dying, Michael Haneke's Amour is a deliberately torturous watch.
  12. According to the most basic laws of cinema, Toni Erdmann, Maren Ade’s third feature as a writer-director (she has five times that many credits as a producer), shouldn’t work. It’s practically one long string of nesting, oxymoronic self-cancelling paradoxes: here is the world’s first genuinely funny, 162-minute German comedy of embarrassment.
  13. This material cant help but be interesting, even compelling up to a point, but its prosaic presentation suggests that the story's full potential, encompassing deep, disturbing and enduring pain on all sides of the issue, has only begun to be touched.
  14. The chemistry between the men is palpable, but what's more important, they convey their characters' complex emotions, expectations and thoughts without necessarily opening their mouths.
  15. For Chazelle to be able to pull this off the way he has is something close to remarkable. The director's feel for a classic but, for all intents and purposes, discarded genre format is instinctive and intense.
  16. This is a gorgeously made character study leavened with surrealistic dimensions both comic and dark, an unsparing look at a young man who, unlike some of his contemporaries, can’t transcend his abundant character flaws and remake himself as someone else.
  17. Rarely are documentaries as powerfully polemic and jaw-gapingly spectacular as Sherpa.
  18. Daniel Day-Lewis stuns in Paul Thomas Anderson's saga of a soul-dead oil man.
  19. Arriving amidst a tidal wave of overblown and frequently charmless big studio efforts, Sita Sings the Blues is a welcome reminder that when it comes to animation bigger isn't necessarily better.
  20. What's most singular about the project — beautifully shot in black-and-white 3D, which often gives the images a beguiling disembodied quality — is that in addition to providing access to the creative process and deepening the album experience, it serves as a profoundly affecting reflection on the pain of parents who have lost a child.
  21. Director Julian Schnabel and screenwriter Ronald Harwood have performed a small miracle in adapting for the screen Jean-Dominique Bauby's autobiography The Diving Bell and the Butterfly.
  22. Claire Denis, not always an easy director, is in top form here directing an almost all-black cast with grace and delicacy. For the happy few, this is French art house cinema at its unpretentious best.
  23. What saves the movie's sobering latter developments, giving it an emotional wallop that overrides the flaws, is partly the sadness playing across Dafoe's face as Bobby watches from the sidelines.
  24. The film’s methods are boldly unorthodox and its constantly alternating moods and shifts in tone from drama to humor, joy to tragedy can be disconcerting. It’s not a film for all audiences, but despite its eccentricities it is always watchable, thanks to strongly drawn characters and the soul-stirring poetry of its imagery.
  25. Perhaps returning to Apocalypse Now will reinvigorate the once brilliant storyteller. Certainly, the images, colors and design still astonish. And let's hope that Apocalypse Now Redux will become the definitive version. For the movie hits home even harder now. [14 May 2001]
    • The Hollywood Reporter
    • 92 Metascore
    • 80 Critic Score
    It's a marvelously quirky film, with not quite something for everybody.
  26. A fully rounded and complicated portrait of both the man and a company that somehow managed to survive under devastating circumstances.
  27. The incisive beauty of the documentary, and its power, is that it's not a thesis or an argument but a full-blooded, multifaceted real-life drama.
  28. Maoz doesn't seem to worry about losing some puzzled viewers along the way with comprehension issues. For those who reach the end, the story makes perfect sense.

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