Variety's Scores

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For 17,758 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 IMAX: Hubble 3D
Lowest review score: 0 Divorce: The Musical
Score distribution:
  1. Positive: 9,121 out of 17758
  2. Mixed: 7,002 out of 17758
  3. Negative: 1,635 out of 17758
17758 movie reviews
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  1. Mother Mary
    “Mother Mary” turns into the most befuddlingly pretentious movie about a pop star since Brady Corbet’s “Vox Lux.” It heads down a blind alley of cosmic meaning that, in the end, means nothing.
  2. The Super Mario Galaxy Movie
    It’s a mad jumble, an eager product-tie-in mess.
  3. Dracula
    It’s not as if we needed to see “Dracula” remade as a blood-soaked Valentine’s Day movie.
  4. The Strangers: Chapter 3
    This is an unconscionably lazy piece of work, the kind of movie that makes you marvel how people will put months of work into creating a feature film whose script seems to have been written in a few hours’ uninspired haste.
  5. Melania
    Melania is a documentary that never comes to life. It’s a “portrait” of the First Lady of the United States, but it’s so orchestrated and airbrushed and stage-managed that it barely rises to the level of a shameless infomercial. Is it cheesy? At moments, but mostly it’s inert. It feels like it’s been stitched together out of the most innocuous outtakes from a reality show.
  6. Greenland 2: Migration
    Greenland: Migration is a dystopian dud. It’s like the boring middle section of a picaresque disaster film, minus the showy kickoff and catchy climax.
  7. Oh. What. Fun.
    Director Michael Showalter’s yuletide anthem for unheralded matriarchs fumbles severely, delivering bland comedic hijinks, insufferable characters and generic conundrums.
  8. Five Nights at Freddy's 2
    Five Nights at Freddy’s 2 is a supernatural video-game slasher movie of astonishing clunky crudeness. No, the movie isn’t dumb fun. It’s flat-out bad, maybe even worse than the first film.
  9. Tyler Perry's Finding Joy
    It’s Perry’s version of a holiday movie and a connect-the-dots love story, but it’s cliché-driven in such a minimal way that it almost makes you yearn for the Perry movies that can feel like a long night of channel surfing all rolled into one.
  10. Regretting You
    The line between a good soap opera and a bad soap opera can sometimes be razor-thin. Regretting You walks the line for a while but lands on the wrong side of it.
  11. Vicious
    The movie devolves into something inexact and thoughtless, without anything distinct to recenter it. It’s hardly a sin for cruelty to be the point, especially in horror. But you have to at least land your punches.
  12. Glenrothan
    It’s unfortunate that the film itself is more like a bottom-shelf blend: easily drinkable, highly forgettable, bland. Worse still, it won’t get you even mildly buzzed.
    • tbd Metascore
    • 30 Critic Score
    In Whose Name?
    The film as a whole is as tedious and frustrating as West himself, a figure who is so deeply certain of his opinions yet wildly unmoored.
  14. Swiped
    Wolfe’s particular genius seems to have been for marketing. Maybe it’s appropriate that a movie about her plays like a marketing exercise: simplified, sanitized, suspect.
  15. Driver's Ed
    Not that this is the fault of an appealing young cast gamely doing their best to inject energy and personality into inert, exposition-heavy, joke-light dialogue that could not sound less like the way modern teenagers talk if every second word was “rad.”
  16. War of the Worlds
    When it comes to customer satisfaction, does Amazon’s refund policy apply to stuff like this?
  17. The Home
    Davidson shows he may not have the chops to carry a horror film, while DeMonaco fails to deliver any thrills this time. Ultimately, it’s a by-the-numbers effort that proves quite disappointing.
  18. Madea's Destination Wedding
    Nearly every scene plays a bit too long. The characters keep at it until they exhaust the situation and whatever jokes it brings, to the point it stops being funny and starts to grow tiresome.
  19. I Know What You Did Last Summer
    I appreciated that Robinson was actually trying to make a real movie out of all this. Yet it’s not a real movie. It’s a concoction impersonating one.
  20. Off the Grid
    This half-baked potboiler leaves one with the nagging suspicion that it was produced simply to meet some sort of quota, and cast with actors who came on board only because they lost bets.
  21. Stealing Pulp Fiction
    Malformed comedy and character beats keep the movie feeling like a rough first draft.
  22. Hurry Up Tomorrow
    Hurry Up Tomorrow bears all the signs of pop star hubris masquerading as artistic candor, despite game performances by Jenna Ortega and Barry Keogan to prop up the budding thespian.
  23. Juliet & Romeo
    Improperly developed, poorly executed and containing no indelible music numbers for us to tap our toes to, this “La La Land”-wannabe take on the Bard’s story serves to frustrate and bore.
  24. Until Dawn
    It’s monotonous and derivative and numbing. It’s a grab bag that traps you in a version of hell, though the problem isn’t that the movie is like a video game. It’s that it’s like a video game that’s got no game.
  25. Gunslingers
    Goosed by a couple gratuitous interludes of gory amateur surgery, the movie is eventful, with a high body count. But there’s never the baseline authenticity of atmosphere or character depth that might make so much action meaningful, or even particularly exciting.
  26. Eric Larue
    A school-shooting drama needn’t be any one specific thing, but to ask an audience to sit through one is, implicitly, to promise some wrenching insight in return. Eric LaRue is just a lot of indie showboating signifying nothing.
  27. The Woman in the Yard
    The Woman in the Yard never musters the imagination to horrify or even jolt you. It’s a tale of one-note inner demons.
  28. Clown in a Cornfield
    You might be wondering if “Clown in a Cornfield” is at least scary. No, it’s not, and it’s not trying too hard to be.
  29. Uppercut
    The director and star’s efforts may have lifted the German-language edition, but this static, lost-in-translation revamp just comes off as effortful, for little reward.
  30. My Fault: London
    Charlotte Fassler and Dani Girdwood (the duo also goes by “Similar but Different”) demonstrate visual dexterity within the propulsive action sequences, yet fail to avoid the lazy, clichéd pitfalls of the pre-existing narrative.
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