The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,880 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: 61
Highest review score: 100 Unforgiven
Lowest review score: 0 What Love Is
Score distribution:
7880 movie reviews
  1. It winds up as little more than a mildly fun spatter picture that will be best enjoyed by undemanding patrons at midnight screenings.
    • 57 Metascore
    • 50 Critic Score
    The Spierigs have assembled a strong cast, but even their best efforts -- notably by Neill, whose Bromley is the ultimate vampire squid, tentacles wrapped around the face of this scary new world -- can't pump any real life into the bloodless script.
  2. While this psychosexual twaddle will no doubt have its admirers, it seems a long shot to attract a significant following or herald the arrival of a director to watch.
  3. Results in a film that's more exploitative than sympathetic. Compared to the works of fellow Francophone directors Catherine Briellat and Clare Denis, Doueiri's depiction of female sexuality in Lila Says is both wooden and pat.
  4. It offers a much needed personal perspective on a subject that is too often reduced to political arguments.
  5. A film whose very surreal, disturbing first hour dissolves in disappointing B-movie nonsense at the end. Still it’s hard to remember a film about S&M as funny as this one, or one as beautifully and weirdly imagined.
  6. Alternately disturbing, laceratingly satirical and affectingly poignant, the film, which he adapted from the novel, Towelhead, by Alicia Erian, is very much a companion piece to the Ball-penned "American Beauty" in its unwavering examination of the dirty little secrets and raging hypocrisies lurking just beyond all those manicured suburban lawns.
  7. A slight but sweet effort that serves as an excellent showcase for its Mexican star, Jaime Camil. The effortlessly charismatic performer delivers a winning performance in this romantic comedy that somehow manages to work despite its endless contrivances.
  8. Affectionate, funny and action-packed sci-fi spoof.
  9. At best a kitschy "Catch Me If You Can" and at worst a tedious comedy that grows more tiresome by every self-consciously irreverent minute.
  10. Hecker makes good use of the south Florida locations, and the song selection -- including many Big Band favorites -- is winning.
  11. The film offers a privileged perspective on crucial moments in Johnny Cash's career, and serious fans will likely warm to it on the small screen.
  12. While the film plays strongly as both mystery and haunted love story, Bush also gets plenty of mileage simply from the drama of one man's attitude toward himself, if such a thing even exists.
  13. Questions of musical taste (as opposed to hit-savvy reading of the zeitgeist) aside, Soundtrack of Our Lives does offer an informative primer for anyone unfamiliar with the scope of this truly impressive career.
  14. As with many other portrayals of this ugly period, the movie's central figures and their experiences have been cleansed of complexity, embalmed in a sort of hagiographic glaze that makes even the pain look pretty. Harrowing things happen, but it’s the easiest kind of "tough watch”; we know exactly what we’re supposed to feel and when we’re supposed to feel it.
  15. If all of the overemoting can be ignored, Born in China delivers gorgeous visuals in its close-up perspective on some of the world’s rarest wildlife species, as well as the imposing habitats they call home.
  16. Although all the main characters and plot points survive the transition intact, they don’t carry the same weight. Him and Her have an undeniable literary, collegiate feeling, like reading a long novel and getting to know the characters inside out. Them steps on the accelerator in a sort of Cliffs Notes version.
    • 57 Metascore
    • 50 Critic Score
    Zhang Yimou's remake of the Coen brothers' "Blood Simple" as a Chinese period thriller-farce in a desert setting. A high-rolling but garish production with untranslatable regional ribald humor, it is aimed squarely at the China market.
  17. Where Guan excels is in straight dramatization.
  18. What at first looks like a mumblecore comedy with a supernatural twist turns into something darker, and many viewers will not feel like going along for the detour into psychological horror.
  19. It's Costner's eye-on-the-ball exuberance that carries Dreams past its often mechanical aesthetic paces.
  20. A thoroughly uninspiring drama that ultimately buckles under Michael Mayer's weighty direction.
  21. Charming at times but surprisingly cheap-feeling given the cast Heckerling has assembled.
  22. Bears a wealth of imaginative riches and a signature mix of outre personalities and gadgets.
  23. Corny, calculating and commercial...Their slickly executed culture-clash character piece is stuffed chock full of hard-knock life lessons that owe much more to the conventions of the screen than the tough realities of social deprivation and of the severely handicapped.
  24. Life Partners boasts a sweetly relaxed vibe that makes it go down easily thanks to the witty screenplay by Fogel and Joni Lefkowitz and the highly appealing performances by Leighton Meester (Gossip Girl) and Gillian Jacobs (Community).
    • 57 Metascore
    • 80 Critic Score
    Chris Hemsworth gives a breakout performance as fallen Norse god.
  25. A lot of banality gets passed off here as profound thought. That and the somewhat self-conscious actors make it difficult to engage much with either character.
  26. It may not be as much fun as old spy movies starring Cary Grant or more recent entertainments such as "Spy Game," directed by Ridley's brother Tony, but it feels all too accurate.
  27. For all the earnestness with which the filmmakers replicate the muted colors and attitudes of the post-war era, they ultimately fail to say anything truly interesting about either the past or the present, resulting in a work that feels as superficial as it does slick.

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