The Hollywood Reporter's Scores

  • Movies
  • TV
Select another publication »
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
view
per page
  1. Elemental
    Had Pixar perhaps taken more risks with that plotline, they might have pleased a smaller demographic than such a project requires to be profitable, but they might also have delivered a movie on par with some of their best work. Instead, the elements all fit perfectly into place — so much so that water eventually puts out fire, and we’re left without much of an impression.
  2. Moving On
    Although Tomlin (for whom Weitz wrote 2015’s Grandma) and Fonda are thoroughly capable of taking their characters in any direction required of them, Moving On ultimately strands the actors — and the audience — at an awkward impasse.
  3. 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.
  4. Knock at the Cabin
    The bigger problem is that the movie leaves itself nowhere to go but deeper into biblical doom and gloom, with an unwavering sense of purpose that highlights Shyamalan’s able craftsmanship but also exposes the pointlessness of this claustrophobic exercise.
  5. Deadpool & Wolverine
    I found this movie messy and overstuffed, but I laughed almost as often as I cringed from its obnoxiousness and can’t dispute that a vast audience will delight in every moment. Even if they spend much of the running time sticking blades through each other’s handily regenerating flesh, Reynolds and Jackman make sweet love and appear to be having a great time doing it.
  6. Emancipation
    The drama feels flimsy when it strays from the swamps, rendering the politics of the time as almost secondary to the visual spectacle of a harrowing escape.
  7. A Haunting in Venice
    The new film is much pokier in its pacing, with duller characters. Despite some highlights, including Branagh in top form as an even more somber than usual Poirot, the film is watchable but it is also something lethal to a mystery: uninvolving.
  8. Sharper
    This is a film best experienced in a group setting, among friends, the kind of project that fosters conspiratorial thinking and could inspire multiple watches — if only it got out of its own way.
  9. Inside
    Even the formidable Dafoe at his most intense ultimately can’t stop Inside from succumbing to its own narrowness, devolving into a self-reflexive portrait of soul-sucking isolation.
  10. Loudmouth
    A sense of admiration and responsibility courses through the doc, an orientation that eventually curdles the narrative.
  11. Infinity Pool
    Cronenberg’s new film is less formally inventive and icy than Possessor, more narratively straightforward if no less disturbingly weird and grisly. But the go-for-broke extremity lacks the substance to make it more than an aggressive but shallow provocation.
  12. Maybe I Do
    Despite the formidable star wattage and estimable talents on display, however, Maybe I Do fails to overcome its obvious stage origins, feeling all too schematic and talky. The plot feels like it could have been lifted from a French farce from the last century.
  13. Justice
    Justice regurgitates information that was largely already in the public sphere, so its main purpose will likely be as a for-the-record summation, albeit a workmanlike one puffed up here and there with generically ominous music to suggest murky machinations at the highest levels of government.
  14. AUM: The Cult at the End of the World
    A generally compelling story with obvious contemporary and global resonances gets an unfortunately dry and surface-level retelling in Ben Braun and Chiaki Yanagimoto’s Aum: The Cult at the End of the World.
  15. The Mission
    It all results in a documentary I found consistently interesting and never revelatory. I learned things, but given the opportunity allegedly presented to the production, not close to as much as I might have wanted to learn.
  16. Shortcomings
    It’s more like the kind of standard Sundance-bound dramedy we’ve seen lots of times before, albeit with a charming cast and some sharp bits of commentary on race, identity and gender that come courtesy of screenwriter Adrian Tomine, who adapted his 2007 graphic novel of the same title.
  17. Scrapper
    Scrapper is a sweet bit of fluff that’s trying too hard to be funny and offbeat and ends up being too often simply annoying.
  18. A Lot of Nothing
    The film struggles to maintain the verve of this opening sequence (which nails a specific anxiety of liberal middle-class Black people), subsequently becoming a series of set pieces — some more energetic than others — in search of a thesis.
  19. White Men Can't Jump
    Harlow makes a surprisingly strong impression in his film acting debut, signaling that more big screen roles are in his future, while Walls provides the requisite simmering intensity and formidable physicality as the anger-prone Kamal.
  20. Paint
    Despite Wilson’s on-the-nose caricature and the enjoyable comic performances of such supporting players as Lusia Strus and the ever-reliable Wendi McLendon-Covey, Paint never delves beneath the surface.
  21. Kandahar
    As usual, Butler brings a convincing humanity and vulnerability to his action movie heroics.
  22. Manodrome
    What Ralphie goes through over the course of this absorbing enough but bludgeoning portrait of corrosive masculinity makes him both victim and monster.
  23. The Survival of Kindness
    Although the storytelling conveys deep compassion for the plight of persecuted peoples, and Hussein’s unflinching performance speaks volumes, mostly without words, there’s a grim inevitability to The Survival of Kindness that becomes wearing, making its 96 minutes feel longer.
  24. Damsel
    Fresnadillo’s film puts on fewer airs of disruption than other versions of this story, so the narrative comes off as less self-satisfied. Still, it struggles to sustain an inspirational tenor.
  25. Lift
    Lift doesn’t seem to trust viewers enough to withhold details. It’s too insecure, too eager, too anxious to be mysterious. Its tricks are not so much revealed as word-vomited through clunky exposition.
  26. Ingeborg Bachmann - Journey into the Desert
    The film is so refined and filled with good taste, not to mention poetry citations and dialogue rendered with quotations marks, that it often feels inert.
  27. Mafia Mamma
    In contrast to Bellucci, who underplays in dignified fashion, Collette works hard, very hard, to sell the concept and her character. That she fails is not an insult to her formidable gifts, but rather due to the flimsiness of the material, which seems better suited to the small screen.
  28. Down Low
    The film pushes against the expectation of queer narratives to follow the same dolorous beats by prioritizing fun and crass humor. But there’s just not enough substance to get us to care about reaching the finish line.
  29. If You Were the Last
    Backed by a colorful DIY aesthetic that makes the most of its budget, the film is nonetheless sappy and, in terms of its comedy, rather cringe-worthy, never quite finding the sweet spot between romance and laughs.
  30. Late Bloomers
    All the pieces are there, but Late Bloomers ultimately fails to sell the film’s core relationship.
Page:

Top Trailers

See all »
See all trailers »