The Hollywood Reporter's Scores

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For 12,897 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: 6,604 out of 12897
  2. Mixed: 5,128 out of 12897
  3. Negative: 1,165 out of 12897
12897 movie reviews
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  1. The Divide
    Part gritty public service dystopia, part modern-day farce about the yellow vests movement that ripped through the country in late 2018, the film can be both entertaining and surprisingly funny, especially if you’re familiar with France’s politics and current economic woes. But it’s also too on-the-nose about what it wants to say, or rather, shout as loud as it can, regarding the country’s accumulated social wreckage.
  2. Casablanca Beats
    Ayouch’s most personal feature film, it infects the audience with its passion and the unshakable belief that a person who has self-confidence and self-expression can really change society.
  3. Blue Bayou
    There’s enormous heart behind Justin Chon’s drama, and wrenching performances full of feeling from the writer-director and his co-star Alicia Vikander. But those strengths don’t obscure the problems of an overdetermined screenplay, with too many plot points competing for focus and too many moments of strained melodrama.
  4. Belle
    Perhaps the most ambitious film to date by Japanese animator Mamoru Hosoda.
  5. The French Dispatch
    Bursting at the seams with hand-crafted visual delights and eccentric performances from a stacked ensemble entirely attuned to the writer-director’s signature wavelength, this is the film equivalent of a short story collection.
  6. Fear Street Part Three: 1666
    This bloated finale (running almost 2 hours long) perfunctorily ties up the narrative loose ends with little finesse or energy — a shame because the earlier two entries, chock full of pop culture references and subversive thematic underpinnings, had immense potential.
  7. Red Rocket
    At a little over two hours, Red Rocket suffers mildly from prolix stretches, and just like The Florida Project, it could have used some tightening. But it’s a pleasure to put yourself in Baker’s capable hands as he ambles through his loose story with its affectionate, slyly humorous character observations and immersive sense of place.
  8. Escape Room: Tournament of Champions
    An underwhelming attempt to turn a tight little thriller into a sequel-spawning franchise, Adam Robitel’s Escape Room: Tournament of Champions lacks many of the original’s strengths while failing to improve on its more underdeveloped aspects.
  9. Space Jam: A New Legacy
    The animation, consisting of both traditional 2D and CGI, is impressive, and there’s certainly a lot of it. But it never feels as joyful as you’d hope, too often coming across like corporate machination than inspired imagination.
  10. The Story of Film: A New Generation
    What sets it soaring is the discerning guide at its helm, one whose curatorial exultation and rigor are also calming, reassuring — a welcome voice in cacophonous times.
  11. Titane
    While Titane wants to shock and surprise — two things a lot of contemporary films seem to have forgotten how to do — it also wants to tell the strangely affecting story of two royally f***ed up human beings who, despite all the odds, and lack of shared DNA, share a father-son like bond.
  12. A Hero
    The film’s simple, lower-class setting is met with equally direct camerawork, lighting and editing. This feels like the farthest Farhadi has come from his stage work and the sometimes unconvincing dramatic elements that occasionally creep into his films.
  13. Gunpowder Milkshake
    Though not without its moments, the film offers too little of interest for its leading ladies to do, and feels throughout like an adaptation of a comic book that was written for the sole purpose of being sold to an IP-hungry film studio.
  14. Cow
    Arnold plunges us straight into her subject’s point-of-view and never leaves it until the bitter end, during a final scene that’s shocking in its bluntness.
  15. Compartment No. 6
    As dour as it often seems with its reek of stale booze and cigarette smoke, there’s joy here for patient audiences willing to find it, and to forego the easy consolations of a more conventional outcome.
  16. Pig
    Pig isn’t the gripping mystery Sarnoski might have intended, but as a crawl through the underbelly of a hipster city’s glamorous foodie culture, it’s a gutsy narrative recipe, even if the final dish is less than the sum of its ingredients. Through it all, Cage plays the enigmatic central character at the perfect simmering temperature, and without a shred of ham.
  17. The Velvet Underground
    Making ingenious use of split-screen, experimental montage and densely layered images and sound over two fabulously entertaining hours, Haynes puts his distinctive stamp on the material while crafting a work that could almost have come from the same artistic explosion it celebrates.
  18. Val
    The helmers don’t aim to be comprehensive. They achieve something better: a film that’s agile and alive — fitting for a portrait of a man who is driven to make art, however he can.
  19. Bergman Island
    Delicate, droll and imbued with a haunting, understated wistfulness, Bergman Island wears its layers so lightly it may take you a while to notice just how much it’s got going on.
  20. Mothering Sunday
    Even the lush world-building of the visuals here, committed performances especially from Young, and stream-of-consciousness editing aren’t enough to conjure the wry, melancholy, and, above all, intensely literary interior voice of the book’s protagonist.
  21. Lingui, The Sacred Bonds
    Haroun takes a quiet, meditative approach to storytelling.
  22. Everything Went Fine
    Considering the subject matter, Everything Went Fine is not the most affecting drama, but its honesty and intelligence keep you glued.
  23. Drive My Car
    There are poetic and profound rewards here, even if Hamaguchi makes us wait too long for this quietly devastating emotional pay-off.
  24. Ahed's Knee
    Despite all the swagger, this is not style for style’s sake. It’s more about Lapid inventing his own language: one that’s highly personal, but also tries to expand horizons at a time when films tend to resemble TV shows more and more, especially in how they’re directed.
  25. Flag Day
    It’s just too bad there’s not more of a personal stamp on the material to rescue it from its indie-film clichés. Flag Day is not a complete misfire, and if a no-name director had made it, the movie would probably get a pass. But considering the emotional stakes involved it’s neither terribly memorable nor moving.
  26. Black Conflux
    Even if this deceptively artful debut feels a little muted and unpolished in places, it is plainly the work of a skilled filmmaker with ample future potential.
  27. The Loneliest Whale: The Search for 52
    The preceding journey might have been smoother, but the doc is a reminder that we still know so little about the oceans and their inhabitants, and an illustration of how much hope we attach to them.
  28. Benedetta
    We may never know if Benedetta was sincere about her visions in the end, just as it’s impossible to judge how sincere Verhoeven is when he’s indulging in the erotic visions that have made him famous. The beauty of Benedetta is that it never provides a straightforward answer to all of our questions, making it mostly a matter of faith.
  29. The Souvenir: Part II
    The distinctive British filmmaker is at the height of her powers in this semiautobiographical work.
  30. After Yang
    This is a film of transporting grace and compassion, cerebral but never cold. It’s no small compliment to say that After Yang seems almost like an American sci-fi movie that Ozu or Kore-eda might have made.
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