The Hollywood Reporter's Scores

  • Movies
  • TV
For 8,908 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Before Midnight
Lowest review score: 0 Armed Response
Score distribution:
8908 movie reviews
  1. Mendelsohn's villain is boringly one-note, Eve Hewson's Marion uses an incongruous Yank accent and always looks as though she's just stepped out of the makeup trailer, F. Murray Abraham swans around in fancy cardinal's vestments looking sinister and Foxx seems pissed off that he's not somewhere, perhaps anywhere, else. As for Egerton, he's a boy doing a man's job.
  2. What the film does best is bear witness to what happened on the day of the arrest and place it in the context of Bland's political life.
  3. Slack and unexciting compared to Ryan Coogler's blisteringly good 2015 reconception of a 1970s icon for modern audiences, this follow-up is an undeniable disappointment in nearly every way, from its dreary homefront interludes to a climactic boxing match that feels far-fetched in the extreme.
  4. This unflinching yet compassionate depiction of marginalized misfits boasts a few pleasingly poetic flourishes, but it suffers from some common first-time director flaws, notably a listless narrative, thinly developed characters and a relentlessly somber mood.
  5. An admirably audacious feat of documentarian access, Of Fathers and Sons is of obvious topical and anthropological interest as a glimpse into the gradual radicalization of young males and the deep community ties which underpin the process.
  6. Unconventional in style and contemplative in tone, The Last Race represents more of a living document of a dwindling American subculture than a typical sports documentary.
  7. Director Rourke exhibits confidence and enthusiasm in dealing with such juicy material in the company of her two outstanding young actresses.
  8. More reliant on atmosphere than action to build suspense, Duncan Skiles’ The Clovehitch Killer offers an intriguing perspective on the darker side of American values, but lacks the conviction to entirely expose the cultural contradictions that often enable compulsive murderers
  9. Scene by scene you wish 55 Steps made you angrier than it does. Yet August's docile filmmaking acts as an emotional soporific, removing even the potential camp pleasures of Bonham Carter's histrionics.
  10. Like in A Silent Voice, Yamada has a very keen eye for depicting adolescent malaise in visually evocative terms, and Liz and the Blue Bird could have benefited from even more flights of fancy than she allows for here.
  11. Scurfield's directing debut is marred by all manner of clunkiness, from the embarrassing performance of Kellan Lutz (playing Lansky's chip-on-shoulder nephew, who winds up Aronoff's nemesis) to the tissue-thin montages that try to sell us on Aronoff's second career as a racer and maker of speedboats.
  12. Attempting to be a cautionary tale for the Airbnb era, the pic squanders its potential with ham-fisted execution.
  13. Suffice to say there are twists, physical perils and moments of self-sacrifice.
  14. Though not all the relationships are entirely clear — the thieves' relationship with Brandt, for example, remains somewhat vague — and there might be some minor issues that could become apparent on multiple viewings, this is first and foremost a rollicking and very imaginatively staged ride that’s enjoyable and different.
  15. Family in Transition stands out both for the particularities inherent in its setting and the deeply sympathetic individuals at its center.
  16. A turbo-charged satire that swaps out Gen X video arcade nostalgia for our current, all-consuming social-media-fueled obsession, the endlessly inventive Walt Disney Studios Animation follow-up impressively levels up with laugh-out-loud consistency.
  17. While the film commits errors of taste and tact, and is generally all over the place from start to finish, those issues come off here as byproducts of a certain generosity — a sense that Anders wants to convey a full range of experience, including the messy stuff in between the usual formulaic notes and beats.
  18. This is a wannabe shocker with a clever premise that doesn't really get down and dirty or betray the base instincts of a born horror filmmaker.
  19. Amazing Grace will not enter the pantheon of concert films — it's somewhat shapeless as a movie, and gives little sense of emotional insight into the performer. But it does contain moments of bliss: As astonishing as the sound of Franklin's singing in 1972 remains, watching her do it is even better.
  20. Despite its structural problems and mostly foreseeable storyline, the small, very human moments such as these ensure that Mario feels authentic and is, finally, moving.
  21. Red
    Molina is captivating as Rothko pontificates, questions and explains, covering everything from Rembrandt and Nietzsche to Jackson Pollock and the convertible car that (as Rothko sees it) represented his descent into the tainted world of celebrity.
  22. Cam
    Cam is a suspenseful mind-bender with plenty of timely feminist subtext. It takes viewers down some unexpected rabbit holes and commendably avoids pandering to male-gaze sex-thriller tropes, even if it ultimately fails to deliver on its grippingly weird early promise.
  23. Although Postcards From London ultimately doesn't quite live up to its considerable ambitions, it offers plenty of arresting moments along the way.
  24. River Runs Red is neither substantive nor thrilling enough to prove satisfying.
  25. Though some of its insights might sound like common sense from the outside, the doc sees many places where they go against the grain; it's likely to provoke some "aha" moments even for viewers who couldn't care less about Super Bowls and World Cups.
  26. It gives the feature doc treatment to a topic TV journalists (and news-comedy hero John Oliver) have looked at over the decades — showing the slimy ways that reforms prompted by public outrage have been neutered by politicians on both sides of the aisle.
  27. Meditative and dreamlike yet gem-sharp, director Rob Tregenza's fifth feature in 30 years is an elegantly told story that churns with emotion beneath its deceptive stillness.
  28. While it offers more style than substance, Bullitt County delivers an engrossing tale with enough twists to satisfy thrill-loving audiences. If anything, it offers too many twists, proving unable to live up to its considerable narrative ambitions.
  29. The dramatic approach here is clear, efficient and entirely on-the-nose, with little time for anything that might distract from the hagiographic effort in play. Its sole purpose is to ennoble and proclaim a hero, which its subject almost certainly is. But it makes for notably simplified drama.
  30. Pimp is an engrossing melodrama that could easily have played to enthusiastic grindhouse audiences in the 1970s.

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