The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,707 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 Sideways
Lowest review score: 0 What Love Is
Score distribution:
7707 movie reviews
  1. A crucial, profound strength of Newtown is its refusal to rush toward “closure” as necessary, or even to suggest that it’s possible. There’s a striking lack of the bromides that usually abound in such contexts.
  2. The film is inspiring.
    • 87 Metascore
    • 70 Critic Score
    Not everyone will wax lyrical about this enigmatic and troubling film, which is also Chan-dong's most slow-moving one. But those with an eye for reading between the lines can find layers of meaning.
  3. Tavernier focuses on a dozen or so major and minor auteurs, showcasing their artistry in hundreds of film clips that he comments on with historical insight and aesthetic precision.
  4. A deliberately distanced but often harrowing vision of a living hell.
  5. Director Laurent Becue-Renard’s engrossing study of soldiers coping with trauma through intensive group therapy offers a rare look at real men shaken by real experiences, underlining the monumental courage it takes for them to get their lives back on track.
  6. Powerful, stripped to its very essence and featuring a spectacular cast (of mostly non-professionals), Matteo Garrone's sixth feature film Gomorra goes beyond Tarrantino's gratuitous violence and even Scorsese's Hollywood sensibility in depicting the everyday reality of organized crime's foot soldiers.
  7. Classily and classically crafted in the best sense by director John Crowley and screenwriter Nick Hornby, this superbly acted romantic drama is set in the early 1950s and provides the feeling of being lifted into a different world altogether, so transporting is the film’s sense of time and place and social mores.
  8. Where journalism leaves off, Fire at Sea (Fuocoammare) begins. It takes a unique documentary filmmaker like Gianfranco Rosi to capture the drama through the periscope of his camera focused on the small Sicilian island of Lampedusa.
  9. A taut, involving drama centered around the mysterious disappearance of a young woman, About Elly confirms director Asghar Farhadi as a major talent in Iranian cinema whose ability to chronicle the middle-class malaise of his society is practically unrivaled.
  10. Director Carl Franklin has cranked up an unnervingly tight-triggered film. Screenwriters Billy Bob Thornton and Tom Epperson's scenario never relents from the out-of-control nature of the trio's bad acts. [7 May 1992]
    • The Hollywood Reporter
  11. Funny and frank in its observations, the film is a delightful snapshot of female friendship at that age, from the giddy highs to the melancholy funks, from the sustaining bonds to the jealousies and stinging betrayals.
  12. The movie rolls merrily along with slapstick action and whimsical characters.
  13. A remarkably vibrant and frank look at one precocious teen’s emerging sexual life — a film with the stuff of life coursing through its veins and sex very much on its brain.
  14. Redford, who can’t avoid exuding charisma, plays this role with utter naturalism and lack of histrionics or self-regard.
  15. An enthrallingly intimate look at the brilliant, troubled and always charismatic screen legend.
  16. Gideon’s Army is an eye-opening insight into a judicial hellhole world that ordinary citizens can never imagine.
  17. Ultimately, the ending is a bit of a cop-out, but that's a small criticism for a film with such decent perspectives.
  18. Fateless is both haunting and poetic. It also is visually stunning.
  19. Arguably the most conventional documentary made by Errol Morris and, perhaps equally surprising, it displays sympathy toward its subject.
  20. Anne Proulx's 1997 short story in the New Yorker has been masterfully expanded by screenwriters Larry McMurtry and Diana Ossana to provide director Lee with his best movie since "Sense and Sensibility" in 1995.
  21. Past lives and ancient ancestors are evoked through conversations that are both cryptic and oddly matter-of-fact, in a work that has the realistic vibe of a documentary but the unearthly qualities of a sustained reverie.
  22. Kindness is evident in even the most hurt or exasperated moments of de France's lovely performance as Samantha. But then, kindness couched in unblinking social realism is an intrinsic part of how these supremely gifted filmmakers view the world.
  23. Fully justifying the decision, once thought purely mercenary, of splitting J.K. Rowling's final book into two parts, this is an exciting and, to put it mildly, massively eventful finale that will grip and greatly please anyone who has been at all a fan of the series up to now.
  24. Particle Fever succeeds on every level, but none more important than in making the normally intimidating and arcane world of genius-level physics at least conceptually comprehensible and even friendly to the lay viewer.
  25. Layering soundtrack and visuals in an intricate collage of rich emotional texture, he (Jonathan Caouette) displays an exhilarating talent.
  26. James has done a wonderful job of telling a colorful life story.
    • 87 Metascore
    • 80 Critic Score
    Informative and, especially in its last hour, surprisingly dramatic.
  27. The movie does achieve something nearly impossible: Someone who doesn't even like the sport may care about Billy Beane and the 2002 Oakland Athletics.
  28. Visually ravishing, emotionally wise, and kinky as a coiled rope, writer-director Peter Strickland’s third feature The Duke of Burgundy is a delight.

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