The Hollywood Reporter's Scores

  • Movies
  • TV
For 12,933 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:
12933 movie reviews
  1. There is no denying the visceral power of Wang’s insistence on looking encroaching death, as it were, in the eye and the filmmaker exercises appropriate restraint when the final moment does come.
  2. Greyhound is a taut action thriller that exerts a sustained grip.
  3. Though it shows some strain in containing the topic's inherent sprawl, the doc is more thoughtful than some of its predecessors, and benefits from interviews with newsmakers like Elon Musk and, even better, Westworld co-creator Jonathan Nolan.
  4. Through it all, Ellington's performance remains effortlessly subtle and lived-in, bringing unexpected depth to the quiet play of emotion on the character's face and giving this loopy episodic tale its heart.
  5. Ultimately, even if some secondary characters and plotlines are underserved, the strength of the story and the emotional range of the experiences depicted prevail.
  6. Little Pink House brings urgency to a fascinating, underexplored theme.
  7. The sort of suspenseful, old-fashioned war movie that should particularly appealing to older viewers, provided they don't mind reading subtitles.
  8. The film fails to provide many practical solutions to the problems it identifies. Still, it’s an effective piece of agitprop suffused with sadness over the decline of a rich part of the American heritage.
  9. Though Cordula Kablitz-Post's feature debut Lou Andreas-Salome, The Audacity to be Free views this very unconventional woman through the conventions of the biopic, its drama benefits from a viewer's ignorance of her story.
  10. Nachman and Hardy have produced another winning and relatable doc combining emotive storytelling with concisely focused filmmaking that's sure to charm viewers well beyond a sizable audience of dog lovers.
  11. Overflowing with wholesome vibes yet not sappy, the film provokes warm feelings, even if its subject doesn't really demand feature-length treatment.
  12. Paradise is predictably problematic for the protagonists of Jet Trash, a flashily seductive and darkly comic crime-thriller that sidewinds between grimy London and the sun-kissed coasts of Goa.
  13. Nana proves another valuable addition to the Holocaust documentary canon, exploring Maryla's important legacy in devoting much of her later years to educating people about the horrors she experienced and witnessed.
  14. Its elegant subtlety feels refreshing in this era of over-the-top horror films.
  15. Though its production is humble and its account full of images many won't want to see, the case represents crucial knowledge for Americans concerned with the boundaries of the First Amendment.
  16. The Bleeding Edge is a terrifying eye-opener.
  17. It's certainly never boring, and Maringouin makes the madness feel queasily real.
  18. The debut feature succeeds thanks to a credibly bifurcated performance by star Ansel Elgort.
  19. A warm if not quite comprehensive-feeling biography of a performer who, even for a celebrity, elicited an unusually strong personal affection from fans, Lisa D'Apolito's Love, Gilda tells the far too short story of Gilda Radner.
  20. Stockholm, which gently massages actual events to serve as a fine vehicle for Noomi Rapace and Ethan Hawke, is far from the first movie to believably show a crime victim coming to sympathize with a criminal. But it's a funny and agile one.
  21. Zoe
    A human/robot love story that is less deeply imaginative than Spike Jonze's Her and less heartbreaking than Doremus' own Like Crazy, the picture is nevertheless a beautifully acted, affecting drama that teases some questions society may need to answer sooner than we expect.
  22. The doc's heart is with ordinary people who have no show-business ambitions.
  23. Nonetheless, Island of the Hungry Ghosts casts an undeniably hypnotic spell. The documentary also serves as an important reminder that the United States is far from alone in mistreating its would-be immigrants.
  24. The resolution seems honest and mature, and a brief epilogue is so powerful that it makes us forget some of the film’s earlier lapses. The emotionally devastating last line socks the whole movie home.
  25. The doc—which is sure to stir conversation as well as emotion when it screens at other festivals—will open audience’s eyes to larger problems of child abuse and exploitation that pervade too many countries around the globe.
  26. It's a tour-de-force for an actor who's more than willing to be loathsome and will be welcomed by both Baker's fans and those of writer/director/provocateur Onur Tukel. But casual moviegoers may not find it as revelatory as comparisons to early Neil LaBute films suggest.
  27. The first hour is the strongest, graced as it is by Estiano's nuanced performance as a conventional-seeming young woman who gradually and very sympathetically reveals her inner self after welcoming Clara into her life.
  28. Moussaoui captures the drama with a simple style that can seem a bit lackluster at times, although he makes good use of the Algerian locations and coaxes compelling performances from his cast. In the end, his narrative's three-pronged structure is perhaps the film's strongest asset.
  29. The film has a hard time shaking a feeling of filmed theater, particularly with the tight restriction of time and place. But the drama is brightly acted by a competent cast, of whom Jadidi and Izadyar, as the married couple, are the most acidic, while Abar and Alvand are given the most range.
  30. The two leads' highly competitive shtick is more amusing than not — the insults fly hot and heavy — as are the outrageously adverse predicaments over which they invariably manage to gain an upper hand. Director Leitch figuratively winks at the audience and elbows it in the ribs as he has his characters break the laws of physics time and time again as they confront a thoroughly preposterous lineup of physical dilemmas one after another.

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