Variety's Scores

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For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
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  1. Jinsei
    Jinsei is magnificently singular: intensely personal, wildly hypothetical and so thrillingly new it feels it might itself have come from some version of the vividly strange future it imagines.
  2. Bang My Box: The Robin Byrd Story
    At a compact 79 minutes, “Bang My Box,” directed by Jyllian Gunther and Stephanie Schwam, packs in everything you need to know about Robin Byrd.
  3. Iron Boy
    It is, in a word, lovely.
  4. jackass: best and last
    What binds and lifts all this foolery is the palpable love they have for what they do, and the other people doing it. You leave “Jackass: Best and Last” believing that they’ll actually miss all this, and that’s enough to make us miss it too.
  5. Minions & Monsters
    Even as it ultimately bends to convention, the film is such a weird, willful popular entertainment for much of its (blessedly snappy) running time that it holds your goodwill: It’s almost bellissima but it’s fully, madly moviosa, and that’s more than the seventh entry in any animated franchise has a right to be.
  6. Girls Like Girls
    Alive to both the soul connection and the bodily itch of these intimate, unwieldy, personally uncharted feelings, Kiyoko’s uncommonly lovely teen movie matches the dizzy, obsessive ecstasy of the song that inspired it.
  7. Toy Story 5
    It’s a sublime summing up, a movie that reflects the whole series in its magic mirror, and (just maybe) a perfect ending.
  8. I Am Frankelda
    Mexico’s answer to “The Nightmare Before Christmas,” the Ambriz brothers’ beautifully idiosyncratic I Am Frankelda was obviously influenced by Del Toro’s darkly whimsical oeuvre; thus, it makes sense that the director of “Frankenstein” has been a supporter and mentor to these younger compatriots in their pursuit of stop-motion greatness. They are well on their way.
  9. Stop! That! Train!
    More than their civilian counterparts, viewers familiar with “Drag Race,” its superstars and its lore will likely get much out of watching the cast trade on or tweak the personae for which they’re known on stage. But notwithstanding its queer-friendly lexicon (much of which has infiltrated social media anyway), Shankman’s film is an easily accessible, unexpectedly ingratiating experience.
  10. The Furious
    An astonishing bloodbath of brute hand-to-hand combat, highly resourceful weaponry and gnarly bodily contortions, “The Furious” is such a feat of mass physical coordination that such niceties as character and narrative can afford to be an afterthought. Here’s a film where you come for the fighting and stay for the fighting, and are unlikely to feel shortchanged.
  11. Carolina Caroline
    Adam Carter Rehmeier‘s thriller, like many a good B-movie, adds up to more than the sum of its parts, with star power and star chemistry its major elevating, unquantifiable factors.
  12. The Death of Robin Hood
    The Death of Robin Hood holds our attention for the sheer severity of its reinvention, the rooted, hessian-rough vividness of its ruined world, and its earnest, complex preoccupation with matters of the soul — a vanishingly rare virtue in the multiplex in general, let alone in the realm of endlessly repurposed IP.
  13. Disclosure Day
    Disclosure Day turns out to be a lavishly intense chase thriller with a dollop of deep-think rumination and two characters at its center whose own close encounters have shaped their lives and destinies. Scene for scene, the movie is a vigorous and diverting ride. Yet coming after the mountains of real UAP footage we’ve seen, Disclosure Day never gives you the contact high of awe that “Close Encounters” did.
  14. Savage House
    Performed with gusto by Richard E. Grant and Claire Foy, as a couple of Georgian grotesques sacrificing everything to host the aspirational dinner party of their dreams, it derives an odd poignancy from the smallness of its stakes, and the severity of its consequences.
  15. Earth, Wind & Fire (To Be Celestial vs. That's the Weight of the World)
    In “Earth, Wind & Fire,” Questlove tells the band’s story, and Maurice White’s story, in a way that’s at once thrilling and haunting. He captures their rightful place in the pop cosmos.
  16. Office Romance
    It sinks into its star power as one would into a warm bath, and if the appealingly scrappy Goldstein doesn’t match that voltage, that’s largely the point.
  17. Atonement
    Atonement comes to a place that, in a lesser film, might appear sentimental but in this one is bracingly real. You can feel the movie burning away the fog of war.
  18. Time and Water
    In telling this one family’s story and examining their connection to the land they were born into, Dosa makes an affecting documentary about a looming danger that many are ignoring.
  19. Colony
    Yeon returns to action-horror with “Colony” an entertaining if empty-headed exercise in familiarity, with a few neat new tricks up its bloodstained, gore-flecked sleeve.
  20. Backrooms
    As an atmospheric freakout, Backrooms is extraordinarily effective.
  21. Pressure
    The film belongs to the ever-reliable Scott, who commendably doesn’t take the easily sympathetic route with the anxious, uptight Stagg, playing him with a suitably dour chill to match his grim forecast — but also a stern, stoic integrity that you’d trust with your life.
  22. Jim Queen
    As satire, it’s more loosely irreverent than devastatingly pointed, but alongside the satisfying potshots at the far right, Nguyen and Athané’s script also takes welcome aim at body fascism and other forms of discrimination within the gay community.
  23. John Lennon: The Last Interview
    Soderbergh has done an ace job of illustrating “The Last Interview” by turning it into a dreamy archival collage, accompanying John’s words (and Yoko’s too) with hundreds of photographs I had never seen before. (He also uses a handful of fantasy images created by AI; if they’d been devised with older technology, no one would care, and no one should care now.)
  24. The Samurai and the Prisoner
    “Samurai” is classical, if pared-back, in approach — at once a satisfyingly linked series of rousing whodunnits, a tricksy game of mental cat-and-mouse and a trenchant, often rather moving, exploration of the nature of true leadership, in all its solitude and sacrifice.
  25. The Dreamed Adventure
    Grisebach’s fourth feature is just such a marvel, a verité social drama, cast with non-professionals, that from the improvisational immediacy of small-scale real life, gradually gathers all the elements of a sprawling crime epic.
  26. Clarissa
    The Esiris cast a perceptive eye over the elite social constellation that has fallen into orbit around this dutiful but unfulfilled society wife, and have nothing but compassion for her as she spins slowly around and around at its center: loved by some, resented by others, admired by all — and totally alone.
  27. Coward
    Dhont has a tactile, compassionate sense of how men — queer men especially, but not exclusively — watch other men, and Coward, by turns breathtakingly violent and sweetly, shiveringly sensual, thrives on that understanding, encouraging audiences to share in its pleasure.
  28. Ask E. Jean
    With the sharply structured documentary Ask E. Jean, director Ivy Meeropol accomplishes the near-impossible, telling the story of Carroll in a manner as consistently enthralling and unapologetic as its subject.
  29. A Man of His Time
    Though it can be genuinely wearying and not a little depressing to spend 148 minutes in the company of a man so deeply wrongheaded and in such maddening self-denial (even Paulette, complicit in her own way in her husband’s ambition will eventually insist that he stops calling her his little lady) it is certainly instructive and horribly relevant.
  30. The Man I Love
    Ira Sachs’s The Man I Love is a stirringly offbeat drama, small and delicate and disarmingly precise, with a performance by Rami Malek that, if there’s any justice, should finally quiet down all the reviewers who’ve always been so snarky about him.
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