The Hollywood Reporter's Scores

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For 12,868 reviews, this publication has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Lord of the Rings: The Two Towers
Lowest review score: 0 Dirty Love
Score distribution:
  1. Positive: 6,586 out of 12868
  2. Mixed: 5,117 out of 12868
  3. Negative: 1,165 out of 12868
12868 movie reviews
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  1. Despicable Me 4
    The plot can sometimes feel like a chaotic melange stretched too thin, but White, who wrote the Illumination avian charmer Migration, elevates the overall narrative by injecting doses of his perennial interest in the social codes of the rich. The Minions get a zany B plot that becomes one of the film’s strongest threads, and a strong voice cast keeps the film engaging and nimble.
  2. Jazzy
    Collaborating again with The Unknown Country cinematographer Andrew Hajek, Maltz plays with close-ups and other snug camera angles to make viewers co-conspirators in Jazzy’s adventures. There’s an endearing clumsiness to the film, too, reflecting the awkward pauses and missteps of real life.
  3. Made in England: The Films of Powell and Pressburger
    The documentary ignites a longing to see the movies, whether for the first time or the umpteenth.
  4. A Family Affair
    Part showbiz send-up and part earnest romantic drama, the film lurches awkwardly between its two modes without settling on a single cohesive tone. Fortunately, both halves are also blessed with the same quality that allows Chris to embody both Zara’s idea of him and Brooke’s: enough charm to make you come away smiling, even as you shake your head at its missteps.
  5. A Quiet Place: Day One
    The sophomore writer-director adapts to the requirements of the genre, expertly sustaining tension, peppering big scares throughout and earning our emotional investment in the key characters. Plus a cat.
  6. MaXXXine
    A glorious paean to the lurid sensuality and gory excess of 1980s sexploitation and horror, MaXXXine completes Ti West’s trilogy of star showcases for his fearless muse Mia Goth on a delectable note.
  7. The Black Guelph
    Intriguing characters and elements of crime fiction prevent the film from being a dour slog, but there’s not much hope to be found here, especially for victims who, due to payoffs and court-ordered silence, can never share their trauma with an outraged public.
  8. Trigger Warning
    Unfortunately, despite everyone’s best efforts to deliver a femme-driven actioner revolving around a central character who comes across like a female Rambo, Trigger Warning, premiering on Netflix, proves distressingly familiar.
  9. Hummingbirds
    It would be easy, at quick glance, to dismiss their mischief as youthful self-absorption. It’s youthful self-absorption, to be sure, but something serious, vibrant and compelling courses through the levity.
  10. I Am: Celine Dion
    I Am: Celine Dion abandons tricks of the eye for an unflinching look at the subject’s new reality.
  11. The Imaginary
    For a film all about creative fancy, The Imaginary doesn’t always offer the kind of compelling moments one might expect. The fine animation can be blunted by a predilection for obvious exposition, dialogue that doesn’t stretch the imagination as much as it could.
  12. The Exorcism
    Taken together though, the script’s rather shaky foundations and Crowe’s bombastic performance effectively derail the narrative in the second half.
  13. Hacking Hate
    Working without much in terms of visuals but talking heads and screens, Klose manages to make his film feel both suspenseful and informative.
  14. Brats
    What makes it truly compelling, however, is its willingness to step outside that perspective and reconsider the phenomenon from a broader context with the wisdom of age.
  15. Inside Out 2
    It’s the balance of basic psychology with abstract concepts and inspired observational comedy that makes this a uniquely captivating coming-of-age tale.
  16. Federer: Twelve Final Days
    It would be difficult to convince anybody without a pre-existing interest that this constitutes compelling storytelling on any level.
  17. Sacramento
    The standout moments in Sacramento highlight behavioral and conversational quirks of old friendships, in scenes that recall the drollness of Joanna Arnow’s recent The Feeling That the Time for Doing Something Has Passed.
  18. Songs of Earth
    Don’t sell Songs of Earth short, mind you, as an exclusively visual experience. Its sound design and score are every bit as immersive, and that may hold the actual key to best experiencing Olin’s film.
  19. The Kingdom
    Directed with razor-sharp, naturalistic precision and set over one sweltering Corsican summer, amid stunning Mediterranean vistas that provide a backdrop to all the bloody vendettas, The Kingdom marks the arrival of a bold new talent who’s able to spin a gripping crime thriller while channeling real emotion on screen.
  20. Faye
    For those of us who have loved Faye Dunaway in movies, Bouzereau’s doc will be bittersweet viewing. It re-examines her run of brilliant, blazing performances in a handful of New Hollywood classics but also leaves us to ponder how brutally she was sidelined, uncommonly so for a movie star of her stature
  21. Rebel Nun
    That story deserves a great documentary. This well-meaning film is far from that. Rebel Nun is pedestrian at its best and cringe-worthy at its faux-arty worst.
  22. Griffin in Summer
    The movie deals with familiar subject matter, but in sneakily appealing fashion. Credit goes to Colia’s cast for creating that subtle magic; the committed performances are energizing to watch.
  23. Sweet Dreams
    The results aren’t always convincing, with the film’s mannered acting and heightened aesthetics keeping the viewer at arm’s length from any real emotion. But the director also displays a fine sense of craft and a deep understanding of the skewed European attitudes of the period.
  24. The Watchers
    The Watchers, sadly, is less disturbing than dull, less harrowing than hackneyed.
  25. Longing
    Instead of being drawn in by Daniel’s spiral, we observe it from a distance. The result is that Longing, presumably intended as a cathartic meditation on grief, simply feels absurd.
  26. To a Land Unknown
    A sober and sincere refugee story.
  27. Gazer
    As painstakingly crafted as this mystery-thriller is, it remains something to be admired from a distance rather than felt viscerally.
  28. Look Into My Eyes
    This is a documentary about psychics that make you think Ouija boards might be a better investment.
  29. Let the Canary Sing
    Let the Canary Sing is slight but competent, a “Cyndi by Cyndi” opportunity for the singer and a choice group of her family, friends and collaborators to nostalgically recount her biography.
  30. Bad Boys: Ride or Die
    Watching Will Smith’s Mike and Martin Lawrence’s Marcus go through their familiar comedic bickering routines has become like spending an evening with a long-married couple whose constant sniping has grown wearisome.
  31. Backspot
    Jacobs‘ magnetic performance alerts us to every tiny miscalculation or epiphany along the way.
  32. Big Boys
    The film captures with enormous sweetness feelings probably familiar to many queer adolescents still figuring out who they are — of insecurity, questioning and giddy crushes on frequently unattainable objects of desire.
  33. Tuesday
    As a woman who has pushed away a lot of hard truths, Louis-Dreyfus delves into a sphere of emotion that she’s never before explored onscreen. She gives us not just the psychology but the feelings of fear, loss and resilience that infuse Tuesday, a story with the sensibility of an Eastern European fairy tale.
  34. Daddio
    The two superb performances and the tactful hand of a gifted new director ensures that the audience will still be thinking about these people long after the journey ends.
  35. Summer Camp
    Veering between strained slapstick and thoughtful tête-à-têtes, this boomer-focused reunion comedy strands a game cast of accomplished septuagenarians in a mostly laugh-free zone of zip lines and predictable beats.
  36. Young Woman and the Sea
    The overworked screenplay doesn’t strip the film of all its merits — there’s plenty here in terms of uplift and inspiration for most audiences — but it does make one wonder about a version of this project that embodied the fluidity Ederle felt in the water.
  37. Black Dog
    At its heart, the film is really a classic story of redemption, taking lots of unexpected turns as it follows a down-and-out hero toward recovery.
  38. Misericordia
    The two movies don’t always crystallize into one, and if you’re looking for a credible crime thriller in which everyone behaves logically, Misericordia may not be for you. If, on the other hand, you’re looking for an exploration of repressed sexual desire and religious hypocrisy in backwoods France, Guiraudie’s strange and sober new film does the trick.
  39. The Great Lillian Hall
    Despite that ominous theme, The Great Lillian Hall is a lovely tribute to life in the theater, with all its personal compromises, and a showcase for Lange, who deftly shows the character as a vulnerable woman and also displays the distinct style of Lillian the bravura actress.
  40. Souleymane's Story
    A realistic and very humanistic look at one immigrant’s grueling daily life in Paris, where he struggles to make a living and obtain legal status.
  41. Santosh
    As Santosh closes in on the suspect, who has absconded for another town, Suri’s film embraces the nail-biting aesthetics — dark and shadowy locales, heart-racing music — of a classic procedural. This assured sense of direction coupled with controlled performances make Santosh a compelling drama. But it’s Suri’s screenplay that renders the film immersive.
  42. Filmlovers!
    When film lovers these days enjoy movies, we’re not always sitting in the dark before imagery that dwarfs us. But whatever the size of the screen, Desplechin convincingly argues, that screen is a place where reality, transmuted, “glimmers with meaning.” As it does in this artful blend of narrative and nonfiction.
  43. Everybody Loves Touda
    The most powerful thread in Everybody Loves Touda is how the singer’s attempts to become a sheikha, a traditional performer whose songs are lamentations for the soul, are thwarted by the people around her.
  44. The Most Precious of Cargoes
    Other viewers are likely to be more entranced by the film’s borderline magical realist elements, but for this viewer the story felt rote, on the verge of trivializing and exploiting the horrors of the Holocaust. Mileage will certainly vary, but for me there’s very little that’s either original or artistically interesting about The Most Precious of Cargoes.
  45. The Seed of the Sacred Fig
    As Rasoulof intercuts real footage and fiction, we realize that what the family is going through is an extension of what the entire country has been facing.
  46. Beating Hearts
    A hodgepodge of movie clichés and overwrought scenes, directed with zero tact and plenty of pounding needle drops, actor-turned-director Lellouche’s third stab at the helm after his rather likeable ensemble comedy, Sink or Swim, is less a disappointment than a serious assault on the viewer’s intelligence.
  47. All We Imagine as Light
    There’s plenty of sadness here, but also lots of humor and female camaraderie.
  48. Marcello Mio
    In some ways, Marcello Mio is the ultimate arthouse nepo baby flick, in which the child of cinema royalty embodies her legendary patriarch in order both to get closer to him and to purge herself of some of the demons that have haunted her own life and career — mainly, the fact that people have a tendency to compare her to her famous parents.
  49. Atlas
    The robot war is mere pretext for the saga of a woman learning to love again, starring a celebrity whose public persona is largely built around her willingness to let herself love again. Never mind the fact that there is no actual human love interest — in structure and theme, Atlas is a J.Lo rom-com in shiny metal packaging.
  50. Armand
    Norwegian writer-director Halfdan Ullmann Tondel takes some big swings with his first feature Armand, not all of which connect, but the ambition and risk-taking are largely impressive.
  51. Motel Destino
    Despite its flaws, Motel Destino has mood, rawness and atmosphere to burn, fueled by Amine Bouhafa’s score, which becomes steadily more disquieting as it ratchets up the urgency.
  52. Grand Tour
    Fans of Gomes’ breakthrough 2012 feature, Tabu, will find much to love here as well, and in terms of craft his latest offers some truly beguiling moments. But anyone looking for a good story, or characters to get hooked on, may find themselves admiring the scenery without ever relishing it.
  53. Rumours
    Like the best comic fantasies, Rumours has more than a grain of tragic truth to it.
  54. Limonov: The Ballad
    A work that is very recognizably Serebrennikov’s, which is to say it’s nostalgic for the Soviet era, outlandishly celebratory of the callow charms of bohemian youth (compare with his pop-music-themed Leto), baggy to the point of undisciplined (see Petrov’s Flu) and full of long, fluid, roaming, handheld single takes (applicable to nearly all his works).
  55. Eephus
    Eephus isn’t exactly a baseball movie — it’s something closer to movie-baseball, where characters endlessly jostle back and forth under no real time constraints, watching the day slowly pass them by, simply out of love for the sport.
  56. Christmas Eve in Miller's Point
    Christmas Eve in Miller’s Point can feel like a party that refuses to end, one that could have used some judicious streamlining. But it’s a memorably adventurous party, fueled by intense hopefulness, and Taormina’s fondness for the characters is the movie’s beating heart.
  57. The Balconettes
    Merlant obviously knows she’s taking risks with a free-form, genre-bending structure, and that’s cool. It’s just a shame that the end product is so loosey-goosey it’s less a bold sui generis experiment than a hot mess.
  58. Parthenope
    There’s much to appreciate in Parthenope, Paolo Sorrentino’s second consecutive bittersweet paean to his home city of Naples. At least for a while, before the too-muchness of it takes hold and the character at the center stops being intriguing and just becomes a siren with an air of mystery but too little evidence of all that’s supposedly going on behind it.
  59. Anora
    While Anora could stand to lose 10-15 minutes, it’s a very satisfying watch; the director continues firmly staking out his niche as a chronicler of the messy lives of an often invisible American underclass.
  60. Solo
    Even if some viewers might grow impatient with Simon’s passivity in the face of endless microaggressions, there’s enough tenderness, heart and ultimate self-realization in Solo to keep you watching.
  61. The Shrouds
    This fetid stew of sex, death and tech may be an aphrodisiac for hardcore Cronenberg fans, but more casual viewers are likely to find it all rather slapdash and undercooked here.
  62. The Apprentice
    Some will argue that Stan’s performance in the central role is a touch too likeable, but the actor does an excellent job, going beyond impersonation to capture the essence of the man. In a character study of a public figure both widely parodied and unwittingly self-parodying, Stan gives us a more nuanced take on what makes him tick.
  63. Emilia Pérez
    The baseline is a drama of criminality and redemption, but then there’s an unforced current of Almodóvarian humor, along with moments of melodrama, noir, social realism, a hint of telenovela camp and a climactic escalation into suspense, ultimately touched by tragedy.
  64. The Substance
    The most compelling parts of The Substance deal with how social conventions turn women against themselves. A stronger version of the film might have dug into the complexities of that truth, instead of simply arranging itself around it.
  65. The Garfield Movie
    It all plays as routinely as you’d expect, making the film directed by Mark Dindal (The Emperor’s New Groove, Chicken Little) feel much longer than it is, at least for anyone over the age of 10.
  66. Horizon: An American Saga - Chapter 1
    Working from a discursive screenplay he co-wrote with Jon Baird, Costner is not at his best as a director with this kind of multi-branched narrative. He struggles to keep all the story’s plates spinning, as characters are sidelined and resurface with too little connective tissue.
  67. Caught by the Tides
    Zhao’s face is one of the most transfixingly expressive in modern cinema, and her long collaboration with her husband Jia stands among the screen’s greatest actress-director unions.
  68. The Surfer
    In the end, the film feels too rollicking and self-parodying to be taken seriously, but it strikes just the right tone to make it a fun Midnight movie.
  69. Oh, Canada
    For a film about big themes like mortality, memory, truth and redemption, Oh, Canada feels both slight and stubbornly page-bound, too unsatisfyingly fleshed out to give its actors meat to chew on.
  70. The Damned
    If it were possible to send a camera crew back into the past to capture such an event, the result would be something close to what Minervini delivers in this quietly intoxicating and existentially real war movie.
  71. Three Kilometres to the End of the World
    The ending is a bit flat and anti-climactic.
  72. When the Light Breaks
    An appreciation for grief’s minor moments coupled with a striking visual language elevate this slender drama. Runarsson is attuned to the details of loss and recognizes the narrative power of these instances. He lingers where others might cut, hordes what, at first, seems disposable and homes in on the familiar long enough to render it uncanny.
  73. Jim Henson Idea Man
    Jim Henson Idea Man is a very conventional movie that dedicates its time to proving how unconventional Jim Henson was.
  74. On Becoming a Guinea Fowl
    Perhaps what’s most impressive about On Becoming a Guinea Fowl is Nyoni’s respect for subtext. Her film doesn’t aim to be a guide, a balm or an ode to forgiveness. The director rejects the ease of over-explanation and allure of an exclusively reverential tone. She reaches for honesty, and what she uncovers is at once disquieting and deeply absorbing.
  75. The Girl with the Needle
    It all could be too much reality to handle if it weren’t for the fact that mercifully, the film ends on a hopeful note, with the most wicked characters punished for their sins and the good given a second chance. It’s undoubtedly something of a fairy-tale ending, but the kind we need these days.
  76. Wild Diamond
    Wild Diamond features gorgeous and frank observations about influencer culture, but it struggles to assert itself narratively.
  77. Bird
    Thanks to the director’s magisterial knack with actors (especially non-professionals such as terrific adolescent discovery Nykiya Adams, who, as the protagonist, is in nearly every frame of the film), the result is quite entrancing.
  78. Thelma the Unicorn
    For most of its running time, it’s a small-scale delight that balances quirky humor and heartfelt emotion to excellent effect.
  79. Kinds of Kindness
    It may not be as thematically cohesive on a first watch as some audiences will wish for, but the longer you mull it over the more the pieces of the puzzle begin to fit and the common threads start to emerge.
  80. Megalopolis
    It’s windy and overstuffed, frequently baffling and way too talky, quoting Hamlet and The Tempest, Marcus Aurelius and Petrarch, ruminating on time, consciousness and power to a degree that becomes ponderous. But it’s also often amusing, playful, visually dazzling and illuminated by a touching hope for humanity.
  81. The Blue Angels
    This is one film that’s definitely worth catching on the big screen.
  82. Furiosa: A Mad Max Saga
    Anya Taylor-Joy is a fierce presence in the title role and Chris Hemsworth is clearly having fun as a gonzo Wasteland warlord, but the mythmaking lacks muscle, just as the action mostly lacks the visual poetry of its predecessor.
  83. IF
    There’s much here to appreciate, not least of which is the admirable attempt to simultaneously provide belly laughs for children and emotional resonance for adults. IF may be guilty of trying too hard, but it’s a refreshing change from so many family movies that barely seem to be trying at all.
  84. The Second Act
    The Second Act is probably his strongest film yet, and certainly the first that could stir up any controversy. Not only is the script cleverly written, but the cinematography, including four epically long tracking shots, and the editing, which times all the jokes perfectly, are well-mastered.
  85. Maestra
    Even when it chooses to put the rosiest gloss on things, though, the film is bracing and inspiring, giving some talented conductors much-deserved visibility.
  86. Aisha
    This tightly focused character study is a tiny film, with an emotional effect in inverse proportion to its size.
  87. Treasure
    Alas, the film is an inept, ill-made mess — or as my grandmother would call it, a mishegoss, so muddled and misbegotten it’s hard to perform an evidential postmortem, based strictly on one viewing, of where it all goes wrong.
  88. The Grab
    Its topic is unquestionably a crucial issue for our age and its approach to that topic both has journalistic rigor and represents a thoroughly admirable depiction of journalistic rigor at a moment at which we put too little value on such things.
  89. Force of Nature: The Dry 2
    This is a handsomely produced, solidly acted thriller that’s certainly watchable, though the perplexing subtitle is not its only issue. Unlike its riveting predecessor, it’s absorbing but never quite gripping.
  90. Kingdom of the Planet of the Apes
    Josh Friedman’s smart screenplay takes its cue from its recent predecessors in reflecting the politics of its time. But the movie works equally well as pure popcorn entertainment, packing its two-and-a-half-hour running time with nail-biting thrills but also allowing sufficient breathing space to build depth in the characters and story.
  91. Unfrosted
    For those willing to put aside reality for 90 minutes, as Unfrosted does with gusto, the Netflix movie whips up a frothy sendup of storytelling tropes and clichés.
  92. Turtles All the Way Down
    Merced’s fine performance anchors the uneasy mood in a deeply empathetic character.
  93. Butterfly in the Sky
    It’s surely not without emotionally satisfying moments and it does a persuasive job of emphasizing the importance of Reading Rainbow and of star LeVar Burton, but the documentary is slight in its artistic and thematic ambition.
  94. Cora Bora
    If the film’s strength lies in its affection for its title heroine, its greatest flaw is a comparative lack of attention toward the characters surrounding her — yielding a film that, for all its likable beats, feels flimsier than it should.
  95. Power
    Power exposes the myth of good policing for what it is: one of the most expensive and calculated PR campaigns in history. And by extension, the film dismantles the idea of America as the land of the free, emphasizing that freedom only belongs to those with enough power and social capital to avoid the oppressive boot of law enforcement.
  96. This Closeness
    The result is a finely observed study of modern manners and mores on a micro-budget that’s nevertheless rich in feeling, especially the cringeiness one might experience from watching other people bicker or hearing people have sex through thin walls.
  97. Rather
    There’s just a lot of media landscape stuff that Rather either can’t or doesn’t want to do justice — which returns me to my initial point that if you come from a perspective of youth this will be illuminating, but if you lived through it you’ll hardly get anything fresh at all.
  98. Something You Said Last Night
    Something You Said Last Night testifies to its director’s dexterity with constructing subtly meaningful moments, but without more insight into its protagonist, the film can feel unintentionally impenetrable at times.
  99. Downtown Owl
    The tyro directors manage to thread a tricky needle with their first feature, navigating the chasm and the overlap between agitated and quiet, between cartoon brightness and angst.
  100. Rebel Moon Part 2: The Scargiver
    Snyder provides an ample display of the visual flair and skill for action that have endeared him to legions of fans who exhibit so much dedication that they’re willing to sit through numerous versions of his films.
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