The Hollywood Reporter's Scores

  • Movies
  • TV
For 12,922 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:
12922 movie reviews
  1. A slickly made, utterly incomprehensible potboiler.
  2. Despite these lapses and a padded running time, this film does burst with fascinating inside lore.
  3. Techine's last screen retelling of a sensational tabloid case, The Girl on the Train, was sly, illusive and seductive. This one is just inert.
  4. Though it contains some nice twists, the story is largely predictable and old-fashioned in ways both good (the characters’ unlikely come-what-may camaraderie) and bad (misogyny and machismo abound).
  5. Reprising the kind of musical performances, campus hijinks, stinging humor and sassy sisterhood put in place by its eminently likeable predecessor, Pitch Perfect 2 remixes the elements and comes up with something even slicker and sharper.
  6. Unfortunately, [Robert Duvall's] attempt to create a multigenerational Lone Star-like mystery doesn't gel as John Sayles's film did, leaving so many dramatic moments unresolved that one wonders how many scenes must have been left on the cutting-room floor.
  7. Shines a much deserved spotlight on this unheralded artist.
  8. For a film so seemingly interested in educating audiences about the evils of sex trafficking that it provides horrific statistics at the conclusion, it has no compunction about including copious doses of female nudity.
  9. The film is essentially nothing but little and ineffectual bits of recycled shtick with no sense of freshness of invention. And the women never bond in even the most rote or superficial way that's expected in this sort of claptrap.
  10. Neither as frightening as a good horror flick nor as enlightening as a straight documentary, Rodney Ascher's The Nightmare borrows from both worlds in its depiction of the phenomenon known as sleep paralysis.
  11. It’s a timely topic shot around picnic tables with friends and tramping through vineyards from Tuscany to Piedmont, as thought-provoking as it is informal.
  12. Featuring endless scenes that defy credibility..Any Day truly succumbs to mawkishness in its final act.
  13. This polished, comprehensive-feeling film makes clear how much of the work was done by our neighbors to the north.
  14. Featuring enough stereotypical characterizations and situations to fuel a dozen artificial rom-coms, After the Ball pretty much drops the ball in every aspect.
  15. Digging around in the crannies of his highly unusual home but never becoming intrusive, the doc feels like it was made by a friend, in a good way.
  16. Alexs Stadermann, directing from a script by Marcus Sauermann and Fin Edquist, keeps the story humming along genially, while the voice cast, also including Miriam Margoyles as the kindly Queen and Jacki Weaver as her conniving royal advisor, provides the spirited uplift.
  17. The film is focused enough on relationships not to sound preachy.
  18. With a style characterized by strong visual storytelling and a seamless rapport with actors both young and old, Bradley guides the cast with a gentle hand and a well-defined vision.
  19. The film remains stranded in a sort of genre no man’s land.
  20. Based on a true story that's perhaps less famous than some others but just as intriguing, this serious-minded — no Helen Keller jokes, please — period film is nonetheless quite entertaining and, finally, moving.
  21. When in doubt, the director cranks up the assaultively reverberant score from po-faced '80s rockers The The (aka Matt Johnson, the director's brother), which at least provides intermittent pep to this increasingly torpid wallow in the moral mud.
  22. Wavering between wry humor and frank tenderness without fully committing to either, the film ends up stranded in an innocuously sweet middle ground. That’s a disappointment, especially since the movie gets off to an amusing start.
  23. The overwritten script has so many subplots it’s hard to keep the stories straight, especially when the ending throws a truly unexpected twist. But little matter; the exceptional tech work gives the film plenty of energy and excitement.
  24. What makes the sharp-as-a-tack nonagenarian Apfel such splendid company is that beneath the busy prints and multi-layered accessories is a woman who is less an eccentric than an ineffably sane, sensible commentator on her own colorful life and the world she inhabits.
  25. While the film carries no writer credit, the accompanying voiceover commentary from all five band-members feels canned, short on off-the-cuff spontaneity and hindsight perspective. Still, even if it has not much more depth than a VH1 Behind the Music special, the doc holds ample pleasures for '80s cultists.
  26. Grimy and sad but not sensationalistic, the debut feature is like Drugstore Cowboy drained of its hipness and sex appeal.
  27. Lafleur delivers an affecting, funny and eccentric -- in the best sense of the word -- meditation on that in-between state that people in their early twenties find themselves, as they are technically old enough to participate fully in all of life’s activities but they still lack the experience to know what they really want or what’s really good for them.
  28. By turns deft and clumsy, inspired and insipid, Ride is a deeply sincere mess of a comedy.
  29. While it might have made for a mildly diverting stage thriller — the hugely successful Deathtrap, for instance, was built on similarly absurd contrivances — the endlessly talky 3 Holes and a Smoking Gun founders onscreen.
  30. Sagnier and especially Baye try to locate the heart in their cartoonish maternal characters, and newcomer Lasseron is at least a warm and spunky presence in a role that's severely underwritten, though all of them are frequently upstaged by all the bells and whistles newcomer Neel feels he needs to keep throwing at the screen in order to mask the fact there's not much of story in the first place.

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