The Hollywood Reporter's Scores

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For 12,932 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: 6,624 out of 12932
  2. Mixed: 5,140 out of 12932
  3. Negative: 1,168 out of 12932
12932 movie reviews
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  1. Neruda
    The film at times is more playful than illuminating, but it's also a handsomely crafted and boldly idiosyncratic contemplation of a great artist for whom political compromise was anathema.
  2. The Last Face
    [A] stunningly self-important but numbingly empty cocktail of romance and insulting refugee porn.
  3. Ma' Rosa
    Troy Espiritu’s plot-driven screenplay and Mendoza’s preference for a gritty, documentary-like style mean that the final result is neither as deep nor as resonant as it could have been.
  4. I, Daniel Blake
    The film is anchored by incisive characterizations rich in integrity and heart, and by an urgent simplicity in its storytelling that's surprisingly powerful.
  5. The Handmaiden
    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.
  6. Gimme Danger
    If not every detail of the band's fluctuating fortunes and lineup is chronicled with crystal clarity, the punchy scrappiness of Jarmusch's film — stuffed not only with electric concert footage but with a cornucopia of amusing visual references, plus cool graphics and some droll original animation by James Kerr — is an appropriate fit for the subject.
  7. From the Land of the Moon
    Cotillard’s performance is luminous throughout, enriching the willful heroine with the depth of a single obsession.
  8. Aquarius
    This endearing old-age drama works best as an earnest and colorful character study, even if it doesn't really break any new cinematic ground.
  9. It's Only the End of the World
    The director finds himself stymied by weak source material — Jean-Luc Lagarce's 1990 play about a young man who returns home to tell his family he's dying — and only intermittently well served by his starry French cast.
  10. Hell or High Water
    As much as all four men are familiar types, the director, writer and actors imbue them with humanity, steering their arcs through tense action — including a nice throwback Western shootout on rocky terrain — to a quietly moving conclusion.
  11. Personal Shopper
    This aggravatingly empty would-be suspense piece puts all its trust in its star to save the day, but even this compulsively watchable performer can’t elevate such a vapid, undeveloped screenplay.
  12. American Honey
    The film works best as a poignant character study, observing Star as she settles into her independence and figures out who she wants to be, framed by a vast physical landscape that stretches socioeconomically from privileged wealth to squalid poverty. There's a wonderful intimacy in the way Arnold examines young women in her films.
  13. Loving
    Nichols has delivered a timely drama that, unlike most films of its type, doesn’t want to clobber you with its importance. It just tells its story in a modest, even discreet way that well suits the nature of its principal characters.
  14. The Neon Demon
    The intended metaphors and commentary about the interchangeability and disposability of bodies are entirely clear, although from the evidence it would appear that Refn is perhaps even more entranced by the surface glamour of the world he so voluptuously depicts than he is repelled by it.
  15. The Land
    The film is well-intentioned but dramatically unconvincing, full of clichéd situations and on-the-nose dialogue about kids getting their shot and living their dream.
  16. Margarita with a Straw
    Director Bose handles the material with a light, elegant touch. It helps that the cast, especially the remarkable Koechlin who gives a bravura performance in both physical and emotional terms, can carry it all off.
  17. The Unknown Girl
    Some of the most acute pleasures here are in the doctor-patient exchanges, depicting with a rigorous absence of fuss or sentiment a relationship that's as much intimate as professional.
  18. Toni Erdmann
    According to the most basic laws of cinema, Toni Erdmann, Maren Ade’s third feature as a writer-director (she has five times that many credits as a producer), shouldn’t work. It’s practically one long string of nesting, oxymoronic self-cancelling paradoxes: here is the world’s first genuinely funny, 162-minute German comedy of embarrassment.
  19. Paths of the Soul
    Blurring the confines between documentary and fiction, it takes the empathetic viewer on an incredible journey that can be almost as painful to follow vicariously from a theater seat as it must have been on the pilgrims.
  20. Pervert Park
    This challenging but refreshingly candid nonfiction feature is the debut of the talented Swedish-Danish filmmaking couple Frida and Lasse Barkfors, who have not only found a fascinating subject but who also manage to build a case against isolating sex offenders without resorting to such facile shortcuts as voiceovers or heavy editorializing.
  21. Journey to the Shore
    Too much lethargic, unclear plotting and saccharine melodrama mean the gentle film is seldom as intriguing as its premise, even if Kurosawa as always provides arresting visual moments and has a commanding way of building atmosphere out of stillness.
  22. Kill Zone 2
    Far from being the convoluted mess it could have been, incoming director Cheang Pou-soi (Yip serves as a producer) crafts a tight, swiftly paced action yarn that ensures viewers won’t be pining for the presence of the first film’s stars, Donnie Yen and Sammo Hung.
  23. ma ma
    Cruz’s aces performance apart, very little about this extremely disappointing film feels real, and some of it is risible.
  24. The Other Side
    There are moments when The Other Side seems to traverse into arts-ploitation territory, and it’s ultimately hard to tell if the movie is trying to render its subjects with some humanity or otherwise if it's taking advantage of all these poor, beautiful losers.
  25. Kaili Blues
    Dreamy, poetry-filled and prone to veering off on tangents, the picture teases viewers with such self-assurance it's difficult to believe the twentysomething director is a first-timer.
  26. Almost Holy
    Hoover doesn’t get into the nitty-gritty of the kids’ detox and rehabilitation, but Mokhnenko’s compassion is as evident as his self-regard, and inextricable from his sense of a moral imperative.
  27. Crush the Skull
    Uneasily blending familiar horror tropes with forced attempts at slapstick humor, Crush the Skull doesn't fully succeed in either genre, although it does provide occasional laughs along the way.
  28. Sundown
    Other than some rather surprising DJ appearances, attractive scenery and beautiful bodies, Lebrija can’t find much to command attention other than an indulgently long and off-putting cock-fighting sequence.
  29. The Nice Guys
    That the film mostly falls flat has far more to do with the largely unconvincing material rather than with the co-stars, who are more than game for often clownish shenanigans Black and his co-writer Anthony Bagarozzi have concocted for them; in fit and starts, the actors display a buoyant comic rapport.
  30. The BFG
    The film represents the director in a more pensive, even philosophical vein, less interested in propulsive cinema and more reflective about what would seem to mean the most to him—dreams, and the ability to make them come true. This is what The BFG is about but, unfortunately, that is basically all it’s about and by a considerable measure too explicitly and single-mindedly so.
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