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. The Photograph
    The Photograph is a romance-heavy star vehicle for Issa Rae and Lakeith Stanfield that’s deeply flawed but both sexy and thoughtful. Writer-director Stella Meghie’s fourth feature (after The Weekend, Everything Everything, Jean of the Joneses), thick and multi-layered with a lush and precise visual language, invites the audience to look beneath the surface of a standard meet-cute.
  2. The All-Americans
    Though it follows a familiar format, devoting its middle third to the games leading to Homecoming and the final act to the game itself, All-Americans doesn't really play like a sports drama; football is mostly an excuse to pay attention to these kids. But that focus is diluted by the number of people we're spending time with.
  3. Rebecca
    Earlier films like Sightseers and Free Fire suggested Ben Wheatley might have the mordant wit to tackle a work forever associated with sardonic genre maestro Alfred Hitchcock. But in place of atmosphere and suspense, he delivers blandly glossy melodrama.
  4. Summertime
    While this hodgepodge contains the occasional lovely or eloquent moment, as one would expect after Estrada's captivating 2018 Sundance debut Blindspotting, those are overshadowed by material that grates on all but the most forgiving ear, in a semi-narrative setting that clearly just cares about getting from one aria to the next.
  5. Charm City Kings
    Sadly, despite its title referencing a dirt bike gang, Charm City Kings doesn’t really show us anything we haven’t seen before. Unable to harness the story’s potential, the filmmakers instead deliver a mostly canned movie that flatlines 20 minutes before it comes to an end.
  6. Boys State
    Boys State inevitably feels more and more like reality TV programming, which is both appropriate for our times and depressing.
  7. Surge
    Even though Whishaw is mesmeric, by the end of the 105-minute running time the whole experience starts to feel like being trapped in a broken-down subway car with a violent mental patient.
  8. Herself
    The idyll is all so jolly that when the film swerves into misfortune in the final act, it feels not like a necessary dramatic corrective but just a dreary downer, like medicine there to stop the spoonfuls of sugar from going down so easily.
  9. Coda
    Sadly, the script for this debut feature, written by Louis Godbout, is less persuasive: No single event is fatally implausible, perhaps, but taken together it doesn't ring true.
  10. The Glorias
    It's a testament to the complexity of the subject and her positivity even in the face of the most culturally entrenched caveman attitudes that we come away from this flawed, chaotic film with a warm appreciation for her achievements and her indestructible generosity of spirit.
  11. Stillwater
    Unfurling over a sluggish two hours plus, Stillwater is least convincing when McCarthy attempts to build suspense, with most of that work being done by Mychael Danna’s score. The late plot twists become almost risible, once Akim (Idir Azougli) enters the picture.
  12. Only
    Only proves more intent on establishing an ominous mood than providing thrills. Muted and restrained to the point of tedium, the picture offers little that's distinctive to set it apart.
  13. My Salinger Year
    The main issue with the film's screenplay, written by the director, is that it is trying to cover too much ground and yet be tonally light on its feet.
  14. After We Leave
    Hossain's refusal to overexplain the details of his world — is the thing Jack's supposed to steal a drug? a weapon? — plays well in some instances; elsewhere, coupled with the film's low budget, it risks failing to convince us we're in the future at all.
  15. The Flood
    Despite the fine performances by leads Lena Headey (Game of Thrones), who has herself long been active in refugee causes, and Ivanno Jeremiah (AMC's Humans), The Flood lacks the narrative urgency needed to make watching it feel like more than a slog.
  16. Ride Like a Girl
    Making her debut as director with a true story from her native Australia, actor Rachel Griffiths gives the pic a workmanlike, generic feel that would play well on family-centric cable channels. Horse lovers will be the moviegoers most vulnerable to its modest charms.
  17. DAU. Natasha
    Big on atmosphere but low on drama, DAU. Natasha is fascinating conceptually but weak cinematically.
  18. Minamata
    Director Andrew Levitas and his co-screenwriters dramatize a riveting story using a mass of groan-worthy genre clichés that ill-serve the truth they are trying to recreate.
  19. Sea Fever
    As Jaws and all the best predecessors have shown (John Carpenter’s The Thing also seems like a major reference), you really need to care about the crew before they’re eaten, and Hardiman doesn’t draw strong enough characters for us to latch onto.
  20. Inside the Rain
    The untrained actor is the weakest link in an already hit-and-miss cast, and few viewers will respond to Ben's unearned bravado.
  21. Phoenix, Oregon
    Well cast with actors who help the film overcome an obviously meager budget, Phoenix is as rough at the edges as its protagonist, and will inspire a similar kind of sympathetic response — especially among viewers who've been through a few reversals and know not every rebound has to take the form of a glorious firebird to be worthwhile.
  22. Inheritance
    The idea of a literal crypt of living family secrets has a movie-ready, over-the-top absurdity, but in this smoothed-over telling, there's no dramatic juice, no impact — just pieces on a chess board, waiting to be maneuvered.
  23. The Lost Husband
    Even though the movie poses questions worth pondering, it's self-inoculated against doing the pondering. With all the long, loving glances at the orderly pastel interiors of Jean's home, and the constant nudging reassurance of the score, the narrative has been too padded against sharp angles to register a seismic jolt.
  24. Screened Out
    Screened Out delivers a convincingly cautionary argument that we're all becoming zombies forgoing human relationships and experiences in favor of our ubiquitous devices.
  25. Shooting Heroin
    Unfortunately, despite all its good intentions, Shooting Heroin lacks the cinematic urgency to get its important message across.
  26. James vs. His Future Self
    Amusing but off-key in some unhelpful ways, it's a dorky time-killer that doesn't suffer too much for its familiar vibe.
  27. Four Kids and It
    More curio than classic, Four Kids and It may hold children’s attention (and sometimes test adults’ patience) over the movie’s brief running time, but seems unlikely to inspire many a rewatch.
  28. Dangerous Lies
    But if you can check your brain and go along with the preposterous plotting of a mystery thriller as generic as its title, there's a certain baseline pleasure in watching the more or less wholesome young couple at its center swim in a murky cesspool of deception and death. Oh, and diamonds!
  29. Capone
    Capone is definitely an unconventional take on the twilight of a notorious gangster. Alas, it's not an interesting one, although the borderline self-parodying Method madness of Tom Hardy's performance does kind of demand to be seen.
  30. Behind You
    Offers a few spooky thrills to get you through another night stuck at home.
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