The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,549 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 Close Encounters of the Third Kind
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
7549 movie reviews
  1. These talented performers star in two of the wittiest, most sophisticated sitcoms on the air, but for this movie pairing they're stuck with an endlessly silly plot line and overblown physical mayhem that is instantly forgettable. The fact that they make it so funny nonetheless is a testament to their abilities.
  2. Aiming for wacky and heartwarming, the film is, at its sporadic best, a mildly diverting coming-of-age story. At its worst, it feels forced.
  3. More a middle-of-the-road rom-com than a teen-spirit sendup, the pic weaves its lighthearted mix of silly and serious with increasingly heavy-handed spiels on self-esteem.
  4. Michael Moore in TrumpLand earns points for ultra-timeliness and its admirable attempt to raise the level of discourse in this deeply polarizing election.
  5. For the most part, the acting is shrill and cartoonish. Indeed, most of the actors appear to be, in the finest desi filmmaking tradition, from the filmmakers' close circle of friends and family.
  6. This feature glimpse into the Bell Jar is an exercise in drudgery, with nothing particularly insightful or revealing to say about the charter member of the Suicidal Poets Society and the artistic endeavor in which she would make her indelible mark.
    • 56 Metascore
    • 70 Critic Score
    In the warm, sparkling character comedy Danny Deckchair, the Welsh actor (Rhys Ifans) moves to center stage, but it has taken a trip to Australia to get him there.
  7. Unfortunately, this feature, originally made for Italian television, doesn't quite do justice to its stirring subject.
  8. Until the lean script by Baier and Laurent Guido takes some unconvincing turns in the late going, the film is a credible portrait of alienation.
  9. This Mexican action flick from director-writer Beto Gómez has all the makings of a great comedy only no one told the filmmakers.
  10. Patrick McGrady's documentary strains to reconcile its conflicting moods, but Fry's gushing enthusiasm for the subject is ultimately if sometimes queasily infectious.
  11. The film comes off as more of a succession of self-contained comedic vignettes than as an incisive portrait of a woman vainly trying to have it all. But Plumb’s plucky, eccentric character is so winning that you find yourself rooting for her nonetheless.
  12. Displaying a rare inventiveness and technical facility in this increasingly tired, cliché-ridden format, Afflicted delivers a genuinely suspenseful ride while making you wonder how its more elaborate effects were achieved on its obviously low budget.
  13. A confident and quietly promising feature debut from director/co-writer Fellipe Barbosa.
  14. Despite the vivid evocation of its central character's helpless self-destruction, All Mistakes Buried offers little that we haven't seen before.
  15. Absent any real sense of who these three women are as individuals, most of their behavior is reduced to what feels like tics that are meant to illuminate character in a rather crude way.
  16. It's got a few things going for it and it's not unenjoyable to sit through, but, at the same time, the tone and creative register never feel confident and settled. It's not bad but not quite good enough either.
  17. A vigilante drama boasting a powerful Jodie Foster performance and carefully weighted direction by Neil Jordan.
  18. An unsentimental portrait.
  19. Both Chastain and Farrell are resourceful, intelligent actors who can be riveting together moment to moment. But the disconcerting thing about Ullmann’s blandly handsome movie is that neither of these key characters comes fully into focus.
  20. The story [lacks] a clear narrative or emotional throughline to connect all of the film’s setpieces.
  21. This punishingly predictable tale will test whether sci-fi action fanboys can stomach having their cherished genre infiltrated by sentimental hokum about a down-on-his-luck dad and his spunky long-lost son.
  22. Spoken Word, which centers on the tense reunion between a recovering addict poet and his dying father, features more cliches than it can comfortably handle and is not helped by its grindingly slow pacing.
  23. The story is rich in juicy anecdotes and epochal events, even if the man behind these striking images remains a little too elusive throughout.
  24. Director Jaume Collet-Serra provides a steady flow of suspense and a very Polanski-esque feeling of paranoia.
  25. Many of the film's most entertaining moments are, ironically, its most peripheral: Namely, the extensive archival clips of news conferences in which an alternately relaxed and tense Kennedy jostled with journalists
  26. The Rum Diary remains a relatively mild diversion, not at all unpleasant but neither compelling nor convulsive.
  27. While its cast delivers uniformly breezy performances, most everything else about Ramona's move to the multiplex feels unremarkable.
  28. Shannon’s performance is the main attraction of this dark character drama, but it also boasts a seductive atmosphere and some penetrating insights into the male psyche.
  29. Baird can be forgiven for a handful of careless and ham-fisted touches. Filth is still a hugely entertaining breath of foul air fueled by McAvoy’s impressively ugly star performance.

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