The Hollywood Reporter's Scores

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For 12,935 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: 6,626 out of 12935
  2. Mixed: 5,141 out of 12935
  3. Negative: 1,168 out of 12935
12935 movie reviews
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  1. Ballet 422
    The doc's structure is a countdown to opening night, but planning goes smoothly enough that little drama accompanies that ticking clock.
  2. Match
    While it offers some provocative moral quandaries, it serves mostly as a showcase for Patrick Stewart.
  3. Monkey Kingdom
    The narration is overused, but at least Fey makes an engaging hostess.
  4. Tip Top
    Shot in precisely composed frames, with recurring visual motifs and an eye-pleasing color palette that accentuates blue hues, Tip Top is commendably ambitious in its Godardian attempts to deconstruct the police thriller format, but it's only partially successful.
  5. Get Santa
    Some parts – the solid cast, a few well-turned one-liners – are really quite good indeed, although viewers have to wade through a moderate fug of reindeer fart jokes to get to them.
  6. Difret
    Quite powerful despite relying on familiar storytelling tropes.
  7. [REC] 4: Apocalypse
    As an above-average adrenaline-driven roller-coaster ride, which offsets its multiple cliches with raw, controlled energy, it works.
  8. Anything for Alice
    The conceit is pure genre fluff, but the underlying economics make less sense upon closer inspection... That said, Maiga projects so much intelligence and integrity it's hard not to warm to her character and she has believable chemistry of the mismatched kind with Boublil, who's up to his usual but quite charming shtick.
  9. Something, Anything
    The plot reversals of the third act happen rather abruptly, perhaps unbelievably, in comparison to what precedes them. But those who've been in Margaret's shoes may find this appropriate — an honest acknowledgement of the false starts that can result when a newly hatched idealist tries to apply abstract principles to messy human emotions.
  10. Loitering with Intent
    The pic works best when it's least self-referential, focusing on romantic attractions in many stages of development. Though it won't do for its authors what Swingers and Good Will Hunting did for theirs, Loitering is smartly written enough to further their off-camera careers; thanks to predictably winning performances from Marisa Tomei and Sam Rockwell.
  11. Medeas
    The plot is diffuse and disjointed, but theater director Andrea Pallaoro’s feature debut scores highly with its exquisite beauty and fine performances.
  12. Play
    The ultimate effect of [Östlund's] studied techniques is more restricting than beneficial, which, combined with a protracted running time, faintly self-righteous air and a perplexing, misguided coda, produces a sense of letdown at the end despite the strength of much that has come before.
  13. Salvation Army
    Though the film’s European scenes carry too little dramatic weight and might be confusing for those unfamiliar with the novel, the Morocco-set opening 40 minutes are beautifully and quietly observed.
  14. A Girl Like Her
    The two young female leads, exceptionally well cast, deliver strong performances, and the drama benefits from Weber’s interest in understanding rather than demonizing the bully.
  15. Bloodsucking Bastards
    Offers just enough B-movie pleasure to keep genre fans busy for a weekend or two before heading from theaters to vid.
  16. Suburban Gothic
    The movie plays quite well for a while but begins to run out of steam in its second half, its occasional laughs not coming quickly enough to keep us interested in the unfolding lore of 19th century murders.
  17. I Am Michael
    Thankfully, the screenplay doesn’t portray the story in simple terms of good or evil, but that doesn’t mean that there’s quite enough nuance or insight to constantly elevate the material above the level of a well-made-but-TV-ready biopic.
  18. Z for Zachariah
    Craig Zobel effectively sets all its surface parts in motion but, crucially, doesn’t sufficiently develop that turbulent undercurrents of tension and intrigue that are called for in the hothouse circumstances.
  19. Kurt Cobain: Montage of Heck
    Impressive in parts, but wildly uneven as a whole.
  20. Last Days in the Desert
    Garcia’s take, however beautiful physically, is intellectually opaque and creatively cautious, leaving the interested viewer, whether or not a believer, with much to wonder about but little to actually chew on.
  21. The Wolfpack
    Benefitting from likeable, good-natured subjects and the peculiar pastimes with which they fill their cooped-up hours, the doc certainly gets us interested in and rooting for the Angulo boys.
  22. Tinker Bell and the Legend of the NeverBeast
    While Disney’s Tinker Bell and the Legend of the NeverBeast might not ever be accused of risk-taking, the new adventure does feel a shade or two darker than previous installments.
  23. My Life Directed by Nicolas Winding Refn
    This intriguing if hardly revelatory account offers some provocative moments, even if the personal access doesn't really add very much.
  24. Futuro Beach
    Karim Ainouz has always been more attentive as a filmmaker to the creation of atmospheric and emotional texture than to story or character, and that bias inhibits this visually seductive drama from fully engaging beyond the aesthetic level.
  25. Alex of Venice
    As she flails through a few dubious choices, the character may be on the kind of self-discovery path we've seen in countless other films; but Winstead makes the outcome seem far from preordained.
  26. Zombeavers
    How the film wound up in theaters rather than on the Syfy channel is anybody's guess, although the R-rated gore and sex is clearly a major factor. Nonetheless, it has a certain goofy, Troma Films-style charm, and the brief 77-minute running time makes it appropriate for the bottom half of a drive-in double feature
  27. Cupcakes
    While it offers some mildly frothy diversions, the Pedro Almodovar-styled Cupcakes lacks the cinematic nutrition to overcome its empty calories.
  28. Lost and Love
    Lee's eye for everyday Chinese life - whether in isolated rural villages or among aggrieved laborers on fish farms - compensates for the film's minimal commentary on the larger social trauma brought about by human traffickers, and the stigma faced by their victims.
  29. She's Lost Control
    [Marquardt's] film sustains tension and is arrestingly lit and shot, exhibiting a sharp eye for expressive compositions and a persuasive feel for the sheer alienating physical density of New York City life.
  30. Beauty and the Beast
    It’s a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal meth-like narcotic high that lasts about two hours. Only once viewers have come down and digested it all might they feel like the whole experience was actually a little bland, lacking in depth and so effervescent as to be almost instantly forgettable.
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