The Hollywood Reporter's Scores

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For 12,887 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 2.8 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: 6,597 out of 12887
  2. Mixed: 5,125 out of 12887
  3. Negative: 1,165 out of 12887
12887 movie reviews
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  1. Michael
    The film leaves itself open to accusations of making Michael a saint, which will not sit well with the cancel crowd. If you are unwilling to separate the art from the artist, this will not be a movie for you. But for lifelong fans who cherish the music, the movie delivers. Simply as a celebration of Jackson’s songs and stagecraft, it’s phenomenal, shot by Dion Beebe with visual electricity in the performance sequences. The music has never sounded louder or better.
  2. Blue Heron
    The steadily accumulated emotional weight of the film dissipates rather quickly as it reaches its abrupt ending. Still, Blue Heron is an affecting, promising debut feature.
  3. Lee Cronin's The Mummy
    Does Cronin’s film have the sharp narrative lines or control of those predecessors? Not even close, but it has enough style and scares, breathless energy and even fiendish humor almost to justify the grandiose inclusion of the director’s name in the title.
  4. Balls Up
    Rhett Reese and Paul Wernick, who have written much funnier scripts for the Zombieland and Deadpool films, are here working in uninspired mode. Balls Up loses comic steam the more it goes on, and although Wahlberg and Hauser have demonstrated solid comedic chops in the past, their laid-back underplaying fails to provide much juice.
  5. Lorne
    It’s an aggressive glossing-over of a career that is worthy of both reverence and introspection/interrogation/investigation. Entertaining, funny and light on its feet to a fault, Lorne offers only the first.
  6. Mother Mary
    Some might be willing to find depth in his stylish, stylized but gossamer-thin depiction of a woman at the height of her performative powers struggling to bear the weight of her stage persona. I found it a bore — self-consciously cool but distancing and empty.
  7. Thrash
    As bloody, dumb shark thrillers go, it stays afloat, gaining some credibility from the natural disaster element.
  8. Outcome
    Sadly, there’s no trace here of the authentic fondness for his characters that illuminated Hill’s directing debut, Mid90s. Just a load of solipsistic L.A. brain rot trying to pass for satire.
  9. You, Me & Tuscany
    Through it all, Bailey’s star power shines. She holds the camera’s attention, pops off the screen and gives Anna an innocent energy that makes her ruses seem mischievous and harmless.
  10. Faces of Death
    It’s reasonably effective, with Ferreira appealing in the lead role and Montgomery very creepy as the copycat killer who would have benefited from a more wholesome media diet.
  11. DJ Ahmet
    The film playfully critiques certain Muslim customs, but never in a demeaning way, while providing a heartwarming coming-of-age narrative that’s a tad predictable.
  12. Peaky Blinders: The Immortal Man
    Immortal Man certainly is a lot of misery business, but the misery is done in high style.
  13. Mr. Burton
    The subject of mentorship is not treated frequently onscreen, but Mr. Burton may be remembered as one of the definitive explorations of the theme. All the technical credits help to ground the film — cinematography by Stuart Biddlecombe is especially striking — but it is the performances that truly mesmerize.
  14. The Super Mario Galaxy Movie
    Relentlessly fast-paced and filled with hyperkinetic visuals, the sequel hits the sweet spot in terms of what its target audience wants, even if adult non-aficionados will find little of interest other than the starry vocal cast.
  15. The Truth and Tragedy of Moriah Wilson
    The documentary is an ungainly blend of ultra-earnest hagiography and trashy true-crime sensationalism, without being completely satisfying as either.
  16. The Drama
    The Drama is a handsomely made, sharply performed letdown. It is yet another example of a far too common occurrence: a kicky logline premise having no real structure behind it.
  17. Family Movie
    Family Movie is a project that seems to exist entirely because the Bacon-Sedgwick clan just thought it’d be fun to collaborate on something, and that’s being released for the rest of us entirely because the Bacon-Sedgwicks are the Bacon-Sedgwicks. For some fans, maybe that’ll be enough. I think I preferred the actual home movies of the actual Kevin, Kyra, Sosie and Travis that play over the ending.
  18. Pretty Lethal
    The impression Pretty Lethal leaves behind is one of unfulfilled potential, an exciting premise executed as a fitfully fun but mostly forgettable distraction.
  19. Happy New Year, Colin Burstead.
    Originally teased with the droll but less marketable title Colin You Anus, Wheatley’s sporadically amusing semi-farce has a lively rhythm and some fine performances, but the baggy screenplay never delivers the emotional grace notes and knockout revelations it promises.
  20. The Rise of the Red Hot Chili Peppers: Our Brother, Hillel
    The Rise of the Red Hot Chili Peppers: Our Brother, Hillel is highly entertaining, full of ridiculously fun early footage of the band and its predecessors, and deeply emotional, with Flea succeeding in making me tear up on multiple occasions. As a film about Hillel Slovak, it’s a bit less successful.
  21. Mike & Nick & Nick & Alice
    A sci-fi-action-comedy-thriller loaded with zippy style, upbeat humor and sneaky heart.
  22. Power Ballad
    It’s an earnest mash note to the power of music that resists over-sentimentalizing its sacrifices, or overstating its rewards.
  23. Hokum
    While it’s a little low on scares, Hokum is pacey and involving enough to keep genre fiends watching once it hits streaming, just for production designer Til Frohlich’s creepy hotel set alone, a place that looks untouched by the passing years. But the writer-director smudges the lines separating an ancient evil from a sordid but disappointingly non-supernatural crime.
  24. Ready or Not 2: Here I Come
    Here I Come still comes out ahead, in the end, delivering enough of the good stuff to keep a fan yelping and laughing and cheering throughout.
  25. Kill Me
    If its exploration of these ideas is ultimately too incomplete to feel fully satisfying, its performances are strong enough to draw attention throughout.
  26. I Love Boosters
    I find it hard to wish Riley would rein himself in when the excess is so much a part of the film’s joy.
  27. Heel
    If the concept has a way of grabbing one’s attention, however, the execution proves too uneven to leave a lasting impression. Though Good Boy gets by for a while on the strength of its performances and the sheer oddness of its plot, the flimsiness of its characters drains the film of energy long before its 110 minutes are up.
  28. Marc by Sofia
    Despite all the insider’s access, though, in the end the behind-the-scenes episodes offer the illusion of intimacy, rather than anything really illuminating.
  29. Reminders of Him
    It helps that the characters are all sympathetic and appealingly played, with Monroe terrific as the beleaguered Kenna, desperate to meet her daughter, and the charismatic Withers making the most of his character’s agonizing over his torn loyalties.
  30. Cookie Queens
    Cookie Queens serves up an eminently accessible and easily meme-able serving of American-girl cuteness, featuring a diverse cast of well-chosen young women.
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