The Hollywood Reporter's Scores

  • Movies
  • TV
For 7,698 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 The Woman Who Left
Lowest review score: 0 The Heart Is Deceitful Above All Things
Score distribution:
7698 movie reviews
  1. Iranian filmmaker Asghar Farhadi pursues his exploration of guilt, choice and responsibility in a superbly written, directed and acted drama that commands attention every step of the way.
  2. With compelling and charismatic performances by Keira Knightley and James McAvoy as the lovers, and a stunning contribution from Romola Garai as their remorseful nemesis, the film goes directly to "The English Patient" territory and might also expect rapturous audiences and major awards.
  3. Brandishing an ambition it's likely no film, including this one, could entirely fulfill, The Tree of Life is nonetheless a singular work, an impressionistic metaphysical inquiry into mankind's place in the grand scheme of things that releases waves of insights amid its narrative imprecisions.
  4. Bong has pulled together a multilayered horror-drama that works more often than not. The film gets back on track after a clumsy middle section that's too long and finishes strong, and Bong fans, horror fans and Asiaphiles are likely to be thoroughly satisfied.
  5. Assayas makes the point that objects of fascination and affection to one generation may be far less so to the next. And he observes the role that people-friendly museums can play in keeping a nation's treasures safe with pleasing subtlety.
  6. In-depth account of Army deployment in an Afghanistan hotspot shows soldiering at its most rugged.
    • 85 Metascore
    • 90 Critic Score
    It is neither a very happy or driving picture. But it is intellectually daring and marks an important breakthrough in the growing up of the Hollywood film.
  7. Starless Dreams (Royahaye Dame Sobh), shot in a juvenile correctional facility for girls under the age of 18, is the perfect example of how powerful simplicity can be, when it’s underpinned by compassion for its subject.
  8. In directing the film, Lee allows the show's inherent vitality to carry the doc, relying on Stew's charismatic stage presence, the cast's absorbing performances and the production's effective combination of minimal staging and impressive lighting design to convey the musical's energetic celebration of artistic discovery.
  9. A realistic slice of pioneer life that offers a disquieting alternative vision of America's most mythic location.
    • 85 Metascore
    • 90 Critic Score
    The Long Day Closes is impressive in many ways. It may be a strange filmgoing experience, but its haunting imagery and sounds make it powerfully memorable. [24 May 1993]
    • The Hollywood Reporter
  10. As Oscar, Jordan at moments gives off vibes of a very young Denzel Washington in the way he combines gentleness and toughness; he effortlessly draws the viewer in toward him.
  11. Sad and disturbing, this smartly and conscientiously crafted film is a powerful wake-up call, heard but not yet implemented, by the “civilized” world.
  12. Dawson City: Frozen Time could have benefited from judicious trimming of its two-hour running time, and there are times when its wandering focus proves irritating. But, at its best, the film represents a captivating time capsule that delivers a poignant paean to a long-gone cinematic era.
  13. Almost unbearably moving at times, Julie Betuccelli's simple but sublime debut feature presents a portrait of maternal love and female fortitude that will reduce the stoniest of viewers to tears.
    • 84 Metascore
    • 80 Critic Score
    Exhilarating, opaque, heartbreaking and completely bonkers – French auteur Leos Carax's so-called comeback film, Holy Motors, is a deliciously preposterous piece of filmmaking that appraises life and death and everything in between, reflected in a funhouse mirror.
  14. This bittersweet peek into the human comedy has a more subtle charm than flashier films like the director’s child-swapping fable Like Father, Like Son, but the filmmaking is so exquisite and the acting so calibrated it sticks with you.
    • 84 Metascore
    • 70 Critic Score
    Despite the name recognition of such actors as Catherine Deneuve and Mathieu Amalric, foreign audiences might be deterred by the movie's 143-minute length and the profusion of characters and interwoven story lines.
  15. The value of this film, not just to moviegoers today but to future generations, is simply enormous.
  16. Owen carries the film more in the tradition of a Jimmy Stewart or Henry Fonda than a Clint Eastwood or Harrison Ford. He has to wear flip-flops for part of the time without losing his dignity, and he never reaches for a weapon or guns anyone down. Cuaron and Owen may have created the first believable 21st-century movie hero.
    • 84 Metascore
    • 50 Critic Score
    Hard luck conspires with bad sex in this unspectacular Austrian tale of crime and punishment.
  17. This is a Wes Anderson film -- more lightweight than some, possessing a stronger emotional undertow than others -- that will strike the uninitiated as conspicuously arch.
  18. A phantasmagorical vision of psychological purgatory, Horse Money (Cavalo dinheiro) will enrapture some while leaving others dangling in frustrated limbo.
  19. Expectations are fully met in Park Chan-wook’s exquisitely filmed The Handmaiden (Agassi), an amusingly kinky erotic thriller and love story that brims with delicious surprises, making its two-and-a-half hours fly by.
  20. Moving historical drama brings a fascinating chapter of art history to life.
  21. Michael Apted's landmark films documenting the lives of a disparate group of Brits in seven-year intervals have always been fascinating from a sociological perspective. But the latest installment proves that they are undeniably brilliant cinematically as well.
  22. It’s hard not to leave the film shaken.
  23. The film is superbly crafted, covering huge amounts of time, people and the zeitgeist without a moment of lapsed energy or inattention to detail.
  24. From a sensory point of view, the film is a pleasure, the images having been manipulated in various ways to evocative effect, Anderson’s voiceovers proving more amusing than not, and the music taking mostly lively turns.
  25. Frame by Frame is a work of profound immediacy, in sync with the photographers’ commitment and hope.

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