The Hollywood Reporter's Scores

  • Movies
  • TV
For 12,900 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:
12900 movie reviews
  1. A terrific blend of farce and personal stories, "The Wedding Banquet" is no mere slapdash slapstick. With its graceful, character-driven screenplay and sympathetically zippy lead performances from Chao as dutiful gay son, Chin as the immigrant artist and Lichtenstein as the longtime companion, "The Wedding Banquet" is a tender feast of wit and charm. [04 Aug 1993]
    • The Hollywood Reporter
  2. Something more complex and rewarding than surface tension is at play here, and it builds to a conclusion of breathtaking openheartedness. Sometimes a blip on the road is magic in disguise, the root of a dazzling new constellation.
  3. As evidence mounts, The Perfect Neighbor steadily and deftly builds momentum until its crushing apogee.
  4. Kudos are due to supervising editor Mark Becker and his team, who never put a splice wrong. That deft level of craft is maintained throughout, while the aching musical bed by contemporary composer Nico Muhly adds just the right tone of plangent despair tinged with hope.
  5. A kinetic blend of a fictional Afro-futurist narrative, archival research on decades of Black visual and multimedia work, and personal history.
  6. In less assured hands, Cactus Pears might have edged into trite territory, yielding to the familiar beats of trauma-laden queer love stories, but Kanawade’s considered direction and spare storytelling keep the narrative refreshing.
  7. Blue Moon is a deceptively modest project, but it’s beautifully executed and fascinatingly nuanced despite being quite straightforward in terms of plot.
  8. What’s remarkable about The Blue Trail and makes it such a delight is that despite all the oppression in the air, it’s a movie filled with hope and faith in human resilience at any age. The closing image will make your heart soar. And no, it’s not the one you were expecting.
  9. Playwright turned filmmaker Celine Song’s assured second feature is a refreshingly complex look at modern love, self-worth and the challenges of finding a partner in an unaffordable city, which once again treats three points of a romantic triangle with equal integrity and compassion.
  10. The Encampments is not just critical in capturing the real-time makings of a movement, but in laying bare the consequences of this response.
  11. It’s a juicy piece of entertainment that also engages sincerely with its painful, topical subject matter.
  12. The director is in the role of the flashy, panache-y showman here, and he plays it to perfection, delivering a big, highly polished chunk of movie that’s pure enjoyment.
  13. If you tap into The History of Sound’s soulful undercurrents, the soaring spiritual dimensions of the music — in songs more often about people than Divinity — and the depth of feeling in Mescal and O’Connor’s performances, this is a film of lingering melancholic beauty.
  14. Impeccably directed and impressively acted, this slow-burn story of political injustice is filled to the brim with atmosphere — specifically the stifling, claustrophobic atmosphere of the U.S.S.R. at the height of Stalin’s Great Purge.
  15. Vibrantly felt yet impressively controlled — and blessed with a stone-cold stunner of a central performance — The Little Sister is indeed an instant classic of the genre, as moving in its humanism as it is sexy.
  16. Pillion is less about the shock factor of some very graphic gay kink than the nuances of love, desire and mutual needs within a sub/dom relationship.
  17. Panahi’s latest feature is a straightforward 24-hour narrative staged with his usual attention to realistic detail, and backed by a terrific ensemble cast. Subtly plotted like a good thriller, the movie slowly but surely builds into a stark condemnation of abusive power and its long-lasting effects.
  18. The movie captivates early on with several scenes of physical and mental mayhem, before settling into a more classic comic formula — albeit one with plenty of twists to come.
  19. From the pastoral beauty of its opening sequence to the gut punch of its last, Hadi’s film is an exceptional screen debut, as perceptive as it is kinetic and, with one eye on the bombers overhead, brimming with life.
  20. For all its playfulness, there’s an intellectual heft to A Useful Ghost that exerts its own gravity.
  21. [An] exquisite and gripping documentary.
  22. By the director’s standards, this is a sober and distinctly mature film, centered by the unwavering composure of Servillo’s De Santis. But it’s not without the customary creative arias, the witty humor and visual delights that have distinguished Sorrentino’s best work.
  23. Clever, funny and visually appealing, Daniel Chong’s nutty action comedy zips along, driven by rambunctious energy and a spirited Mark Mothersbaugh score. Its tenacious protagonist is flanked by a cast of amusingly anthropomorphized creatures that will thrill the core audience of kids while keeping the grownups entertained.
  24. Hedda is a delightful, sexy ride made that reminds us that Thompson is a star and DaCosta has many more tricks up her sleeve. It’s good to hear her unique narrative voice again.
  25. Vanderbilt’s commanding Nuremberg couldn’t have arrived at a more consequential time.
  26. A searing and detailed chronicle of murder, bigotry and robbery on a massive scale that also marks the director’s first feature-length documentary.
  27. Ben Hania lights a connective fuse between documentary and drama.
  28. As a documentary subject, Hersh is thoroughly engaging — by turns charming, surly and vulnerable. He opens himself to the attention of filmmakers Laura Poitras and Mark Obenhaus with a sense of purpose, a bit of squirming, and occasional flares of regret.
  29. Remake is certainly a movie about memory, especially bad memories, but in a Proustian sense it’s a movie in search of lost time — both the time McElwee spent with his son and the time slipping away as the director and his peers grow old and die.
  30. Its humane message is potent even though it comes in the offbeat package of this gleeful, violent but entirely successful dark comedy.

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