The Hollywood Reporter's Scores

  • Movies
  • TV
For 9,978 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 3.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 To Kill a Mockingbird
Lowest review score: 0 Devil's Cove
Score distribution:
9978 movie reviews
  1. A tale of long-simmering grudges and shocking violence in a small town, Paul Solet's Tread is a smartly structured doc with a finale so extravagant you could build an exploitation film around it.
  2. Big on atmosphere but low on drama, DAU. Natasha is fascinating conceptually but weak cinematically.
  3. The result feels like a dry and endless lecture more than an involving human story about serious issues. It’s a movie that’s all subtext and no text — and even the subtext struggles to make a point that’s more complex than a blunt truth.
  4. Scream, Queen! feels a bit self-indulgent at times, exploring so many tangents that it tends to lose focus. Nonetheless, it's a fascinating sociological examination of the circumstances surrounding a film that inadvertently became a camp classic.
  5. The main issue with the film's screenplay, written by the director, is that it is trying to cover too much ground and yet be tonally light on its feet.
  6. By the time the film begins approaching the two-hour point, the feeling sets in that perhaps Whannell is stretching his conceit a bit too far for its own good. But it’s hard to deny his ingenuity and flair with genre tropes and keeping his audience somewhere approaching the edge of its collective seat.
  7. The closing scenes of Straight Up are more contrived and constrained — an acquiescence to living inside the box, with one dramatic wrinkle that feels tacked on and ill-considered. The fiery talent that Sweeney displays throughout, both in front of and behind the camera, regrettably ends up ashen.
  8. Hossain's refusal to overexplain the details of his world — is the thing Jack's supposed to steal a drug? a weapon? — plays well in some instances; elsewhere, coupled with the film's low budget, it risks failing to convince us we're in the future at all.
  9. Why somebody would get off the couch and spend money to see it is anyone's guess.
  10. It lacks infectious magic. Any promise of originality fueled early on by the amusing sight of unicorns sniffing through suburban trash quickly dissipates as the siblings' journey gets under way, their progress marked by slapstick gags, predictable close shaves, encounters with characters that often feel like plot padding and standard life lessons writ large.
  11. Although touching on a multitude of aspects of its disturbing subject matter, it never really digs particularly deep into any of them, with the result that it ultimately proves unsatisfying
  12. Although there is nothing groundbreaking about the story told in Standing Up, a series of small grace notes help to freshen this dissection of lost souls searching for second chances.
  13. This is an imperfect but stirring drama, by turns sweet, sexy and quietly wrenching.
  14. Genre conventions are a formality here, as de Almeida gravitates reliably back to the places where nightlife professionals spend their downtime together, swapping stories about the past while welcoming those who've been mistreated by changing times.
  15. Balloon simply doesn't feature the sort of cinematic thrills necessary to keep us fully invested in the travails of its central characters. It's not that the events are depicted in anything less than bombastic, hyperbolic fashion. It's more that the filmmaker lacks the directorial finesse to calibrate the suspense for maximum cinematic effect.
  16. This is an intriguing if austere art house item that should please lovers of slow cinema with a more mystical edge.
  17. The results aren't fully satisfying on any level, despite a terrific cast that includes rising star Ana de Armas (Knives Out), soon to be seen in the upcoming James Bond film "No Time to Die."
  18. The flaws in The Garden Left Behind should not prevent anyone from appreciating the rich, compassionate story Alves has brought to the screen with such assurance, or the heroine Guevara has brought to life with such realism.
  19. The State Against Mandela and the Others adds little essential to the vast library of documentaries about Mandela and the anti-apartheid struggle. All the same, this is a heartfelt, humane and visually inventive tribute to a fading generation of giants whose principled sacrifices ended up changing history.
  20. Changing the Game is beautifully crafted, with strong visual evocations of the different locales that these young athletes inhabit. The editing is also sharp, so that we rarely feel we are spending too much time with one set of characters.
  21. The results are visually disorienting, to say the least. Although Notary and the special effects team do as good a job as technology allows, the expressive Buck never quite looks real. And you keep expecting him and the rest of the animals to burst into song.
  22. If this were the feature-length pilot episode for some cheap reboot on a streaming service — which is what it feels like — a generous viewer might half-heartedly agree to tune in next week and see if things get more interesting. But on the big screen? A sequel would be less welcome than a new episode of, say, Charlie's Angels. Or Starsky & Hutch.
  23. VFW
    VFW ultimately lacks the cinematic flair to be truly memorable. But the pic succeeds on its own terms of being a nostalgic throwback to the days when such B-movies routinely opened on double and triple bills in urban grindhouses.
  24. Neither the screenplay nor the agile direction insists on neat resolutions for any of the characters, and there's a double-edged charge as the foursome make collective and individual progress, slide back and try again: the women recognizing each other in ways they otherwise never would have imagined, the half-sisters slowly becoming friends.
  25. Come as You Are hits most of the familiar road-movie beats, and telegraphs its surprises pretty shamelessly. It's not the most subtle disability comedy you've seen, nor is it at all concerned with exploring the ethical issues surrounding sex work. But its lightness is a virtue in the film's rare sentimental moments, which might've been too corny to bear in other contexts.
  26. Lopsided in its balance between sentiment and scares, it's a very peculiar genre pic that will make the most sense to those familiar with the films of two of its producers — Aaron Moorhead and Justin Benson, whose trippy sci-fi outings like The Endless also balance the fantastic and the intimately human.
  27. The Photograph is a romance-heavy star vehicle for Issa Rae and Lakeith Stanfield that’s deeply flawed but both sexy and thoughtful. Writer-director Stella Meghie’s fourth feature (after The Weekend, Everything Everything, Jean of the Joneses), thick and multi-layered with a lush and precise visual language, invites the audience to look beneath the surface of a standard meet-cute.
  28. From its desert landscapes to its principal setting of an architecturally distinguished house to its extremely photogenic lead actress, every frame of the psychological thriller proves visually stunning to behold. While the film never manages to achieve the level of suspense that would make it dramatically riveting, it certainly earns its art house credentials on a purely visceral level.
  29. Her (Zoey Deutch) wildly entertaining performance proves the standout element of the picture, which never quite reaches the comic heights for which it's aiming.
  30. While Fowler keeps the story moving efficiently, Marsden's easy geniality prevents the simple narrative from feeling rote. Carrey gets a moment or two to cut loose.

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