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. Mother of the Bride
    While a gentle, light-hearted romp is indeed welcomed in these taxing times, there’s much left to be desired from our journey with these likable but under-developed characters.
  2. The Grab
    The big picture here is so elusive and vast that it helps Cowperthwaite to have a few intrepid investigators to follow, letting their research drive the shape of the film (which, when you unpack it, must have been one hell of a task to structure).
  3. Kingdom of the Planet of the Apes
    Though the movie is too long, I was more gratified than not to sink into its relatively old-fashioned dramatic restraint.
  4. Unfrosted
    While broadly based in reality, the entire movie is a put-on, a wackazoid tall tale, a comedy that uses the breakfast wars as the jumping-off point for a high-camp exercise in nostalgic lunacy.
  5. Mars Express
    A gripping, heady and refreshing 2D animated take on the perils of man and machine coexisting, Périn’s first feature as a director inserts the necessary exposition in a mostly natural manner so we incrementally become aware of how this reality functions.
  6. Prom Dates
    Unlike this teen raunch-com’s brilliantly conceived inspirations, its main friendship dynamic and ensuing shenanigans fail to resonate due to sloppy character construction and a cadre of cringe-worthy circumstances.
  7. The Contestant
    Titley consistently anchors her unfolding chronicle to the kind of backstage emotional truths often hidden from the audience, and in the process, she crafts something halfway between sensationalist exposé and intimate confessional — a remedy to reality TV based on its own format — co-authored by her subjects
  8. Tarot
    Set in a world where every door creaks and there isn’t a single well-lit location, Tarot is little more than a clearinghouse of horror clichés.
  9. Never Look Away
    Never Look Away gives us as complete a portrait as seems humanly possible, for which Lawless merits abundant credit.
  10. Slow
    Slow reveals itself to be quite a tender portrait of love and companionship, of what our bodies yearn and want in others, and how we could do well to upend the stories we tell each other about living and loving another.
  11. Lost Soulz
    Inspired by Sidle’s experience as a musician on the rise, Lost Soulz tells a raw personal story in a fragmented structure deriving its strength from the original music composed and performed by its talented cast.
  12. Any Other Way: The Jackie Shane Story
    Michael Mabbott and Lucah Rosenberg-Lee’s documentary “Any Other Way” combines archival materials, interviews and animated reenactments into a compelling investigation of an elusive life, as well as a talent so striking you’ll be amazed it remained forgotten for so long.
  13. Nowhere Special
    Nowhere Special is the kind of confident, understated film that doesn’t need to pound the audience with its sentiments in order to make us feel alive and human in front of it.
  14. In Our Day
    Neither switch-your-brain-off-escapist, nor the kind of arthouse filmmaking that makes heavy demands on your time or willpower, Hong’s cinema remains one of the most reliable sources of this particular pleasure.
  15. Cash Out
    Every line of dialogue that follows from this tired premise is like an echo of one from a better movie.
  16. In a Violent Nature
    Its stripped-down approach to a familiar gist has a distinctiveness that is impressive, and is sure to please fans who are always up for a new slasher film — but wish most of them weren’t so interchangeable.
  17. Power
    Anyone watching the film is likely to learn something, though whether its lessons will stick, or claw their way beneath one’s skin, is less likely.
  18. Alam
    This intelligent, sensitive treatment of the rarely seen, everyday lives of young Palestinian citizens of Israel marks tyro feature writer-director Firas Khoury as a talent to watch.
  19. Common Ground
    This broadness of info only means the Tickells remain surface-level on most topics. Their Common Ground only teases but doesn’t dig deep enough into the intersection of racism and capitalism that brought us to today.
  20. Spy x Family Code: White
    Spy x Family Code: White is far more chuckle-worthy than laugh-out-loud funny, but there’s an innocent, adolescent charm to even its jokes that miss the mark.
  21. The Three Musketeers - Part 2: Milady
    For readers of Alexandre Dumas’ novel, extravagant French adaptation “The Three Musketeers – Part II: Milady” packs its share of surprises: killing off important characters, sparing others and reimagining allegiances that have stood for nearly two centuries.
  22. Rebel Moon Part 2: The Scargiver
    Rebel Moon — Part Two: The Scargiver is a storytelling mediocrity, but as spectacle it has tumult and rhythm.
  23. Hard Miles
    Daniel Hanna (“Miss Virginia”) and a strong cast, making for a satisfying scenic ride that picked up several festival audience awards last year.
  24. We Grown Now
    Even in its quietest moments, “We Grown Now” feels alive through the kids’ joint triumphant spirit and Baig’s discernible love and care for them.
  25. Abigail
    Abigail was directed by Matt Bettinelli-Olpin and Tyler Gillett, who made those last two “Scream” films, and though I was impressed, to a degree, by what they brought off there, this movie feels like a step backward into overwrought generic schlock.
  26. Oddity
    McCarthy and editor Brian Philip Davis deploy high-voltage moments with expert timing, using the dark to their favor in refreshing fashion.
  27. The Ministry of Ungentlemanly Warfare
    These guys are so good at what they do, Ritchie fails to muster the expected tension. Instead of suspense, audiences feel a sense of delight in watching them succeed, no matter the setback.
  28. The Absence of Eden
    While “Absence of Eden” lacks narrative originality, it often dazzles visually.
  29. Omen
    At a fleet 91 minutes, Omen could stand a little more character-building. But the larger atmospheric payoff lingers; the film first gets under the skin, then sits in the skeleton like a trapped, restive spirit.
  30. Challengers
    Another filmmaker might have subtracted himself in order to foreground the story, whereas Guadagnino goes big, leading with style (and a trendy score from Trent Reznor and Atticus Ross).
  31. Enter the Clones of Bruce
    David Gregory’s documentary won’t convince most viewers that the resulting flood of opportunistic cheapies are worth more extensive investigation. But they’re certainly cheesy fun in excerpt, and interviews with surviving participants provide an entertaining window into an anything-goes heyday for Hong Kong cinema.
  32. Arcadian
    Unfortunately, Brewer and screenwriter Mike Nilon ignored an essential rule: Conceiving an original monster isn’t nearly as important as coming up with compelling human characters
  33. Indigo Girls: It's Only Life After All
    Bombach’s movie finds its real flavor in exploring the differences in the duo’s two very distinct personalities, which up till now might have seemed like a fuzzy, singular unit by all but the most hardcore fans.
  34. Don't Tell Mom the Babysitter's Dead
    Genuinely funny, charming and sincere, it’s a respectful and revelatory update in a world where those are few and far between.
  35. Back to Black
    At its best, Back to Black, the forthright and compelling movie that’s been made of Winehouse’s life, takes that light/dark balance and digs into the drama of it, making it sing.
  36. A Perfect Day for Caribou
    Set over the course of a single day on the fringes of some dead American anytown, this at once quiet and talkative two-hander covers no especially new ground, but strides known territory with a keen eye for lonesome landscapes, and an ear for the eternal communicative impasse felt by men who know each other all too well and not at all.
  37. Housekeeping for Beginners
    Stolevski’s lively, garrulous script may be plot-heavy, but the film isn’t propelled as much by grand narrative turns as it is by the powderkeg reactivity of its characters. Each scrap and squabble and occasional flash of understanding between them activates the film anew, so no interpersonal dynamic here ever feels comfortably settled.
  38. Scoop
    The frustration of Scoop is also its point: It vividly conjures the adrenaline and awe of one hour of dynamite television, but can bring us no closer to complete truth, or complete justice.
  39. The First Omen
    Stevenson’s consistently unsettling and gleefully sacrilegious offering packs its share of legitimate shocks en route to one glaringly obvious “surprise.”
  40. Chicken for Linda!
    Malta and Laudenbach have crafted an entertaining, kid-friendly toon whose power lies less in its plot than the surprising insights into human behavior revealed along the way.
  41. The Show
    Fun if perhaps a little too tongue-in-cheek for its own good, the results will no doubt appeal most to Moore fans who’ll revel in his Byzantine plotting, noirish tropes and other signature elements.
  42. In the Land of Saints and Sinners
    When it comes time to move the story along, Lorenz often betrays his filmmaking’s lax virtues.
  43. Godzilla x Kong: The New Empire
    The director, Adam Wingard (who made “Godzilla vs. Kong”), knows how to choreograph a beastie battle so that it does maximum damage in a way that appeals to your inner toy-smashing seven-year-old.
  44. Humanist Vampire Seeking Consenting Suicidal Person
    “Humanist Vampire” doesn’t want us to think too deeply, and aims mostly to charm. Largely it succeeds, which is its own kind of critique in this post-“Titane” and -“A Girl Walks Home Alone At Night” era, when some viewers might expect provocation or transgression from their horror archetypes.
  45. Mothers' Instinct
    Mothers’ Instinct doesn’t breathe: It hasn’t the grandeur of great melodrama, nor the savoir-faire of great noir. Like its mismatched heroines, it’s constantly, twitchily figuring itself out, as we sit tight, intrigued, tensely waiting for it to trip.
  46. Winnie-the-Pooh: Blood and Honey 2
    There may be a lot more going on “Blood and Honey 2,” but let’s not kid ourselves. It’s mostly a shambles.
  47. Against All Enemies
    A grim diagnosis of a fast-spreading cancer, Against All Enemies may provide much less reassurance than cause for alarm, but its wakeup call is certainly worth heeding.
  48. Transition
    Watching this steadfast person survive in such close quarters with those most unaccepting of his situation offers remarkable insight into issues of gender expression and acceptance, which might well translate to the social strictures back home.
  49. The Black Garden
    The Black Garden is more than just a chronicle of a conflict. With a probing camera conveying images both beautiful and intimate and observational filmmaking that coaxes real emotions, it manages to tell a story of four men who represent their village and people.
  50. Night of Nights
    Night of Nights is documentary filmmaking at its most raw. A journalistic endeavor that’s also concerned with human attitudes, it captures not just the facts but also the experience.
  51. Art Talent Show
    Whether you view this illuminating doc as a portrait of an institution, a snapshot of a generation or a sketch of the dedication and stamina shown by those in the teaching profession, Art Talent Show bears sprightly comparison to the various styles and modes of artistic expression it showcases.
  52. Sleeping Dogs
    Sleeping Dogs, starring Russell Crowe as a retired cop with Alzheimer’s disease, is a half-rusted scrap heap of a detective mystery. It’s patchy, it’s badly lit, it’s glum, it’s overloaded with suspects, and it’s almost proud of its contrivances. Yet in its logy, booby-trapped way, it keeps you watching.
  53. Do Not Expect Too Much From the End of the World
    Funny and furious, crude and subtle, unkempt and thoroughly disciplined, this deranged movie is also maybe the sanest film of the year: a multifaceted manifesto exposing the absurd internalized fallacy that one must work in order to live, when it’s work — as in, the pitiless daily grind — that will be the death of us all.
  54. Terrestrial Verses
    This is punchy first-person filmmaking, from the point of view of the last person you want to be.
  55. I Don't Understand You
    Things spiral wildly out of control for Dom and Cole, but the foundation feels real.
  56. Ghostbusters: Frozen Empire
    You might say that “Frozen Empire” has to work even harder to invent a reason for itself to exist. Yet it’s a livelier movie than “Afterlife.”
  57. The Greatest Hits
    “The Greatest Hits” feels like the remainder-bin version of better love stories.
  58. The Idea of You
    This is Hathaway’s movie, and she owns it: independent, desirable and never, ever desperate.
  59. Susie Searches
    Clemons’ strong performance provides enough of a center to propel the story to its conclusion.
  60. Shirley
    In “Shirley,” John Ridley’s sharp and lively inside-political docudrama, Regina King plays Shirley Chisholm with a quiet force you can’t look away from.
  61. Timestalker
    Timestalker may get a lot of mileage out of unrequited affection, but it still gives audiences plenty to love.
  62. Jacqueline (Argentine)
    Gets points for originality but quickly succumbs to terminal self-amusement.
  63. Snack Shack
    Armed with a talented cast, writer-director Adam Rehmeier’s 1991-set feature happily squares itself in a tradition of teenage hedonism and broad learning opportunities, settling into a generic but warm glow.
  64. Omni Loop
    Time may unravel in Omni Loop, but admirably, it opens up the space to think less about the secrets of the larger universe than to take stock of the smaller ones that exist around us.
  65. My Dead Friend Zoe
    Hausmann-Stokes’ message is simple, and his movie is a perfect place to start: Take an interest in our veterans.
  66. Magpie
    The first-time director, Sam Yates, working from a utilitarian script by Tom Bateman, slathers on mood, yet there’s a primitive charge to the film’s no-frills staging.
  67. Grand Theft Hamlet
    The infrastructure of the game leaves things wide open for human creativity to take it in directions that couldn’t be predicted and people foster connections without any superficial prejudices getting in the way as Crane and Oosterveen assemble a cast.
  68. Lovely Rita (2001)
    A deliciously observed, ironic take on middle-class Austrian life through an introverted teen's eyes, "Lovely Rita" reps a strong step up to the feature plate by 28-year-old Jessica Hausner after a couple of well-remarked shorts.
  69. Irish Wish
    As a rom-com, Irish Wish is more than willing to kiss the Blarney Stone. Yet the chemistry of Lohan and Speleers makes it watchable enough to get by.
  70. Civil War
    A literal shock to the system, Civil War is designed to be divisive.
  71. Copa 71
    As subjects share vivid memories of taking the field, their stories appear to stir back up the attitudes that made them great competitors.
  72. Much Ado About Dying
    Death isn’t an ending in this achingly funny-sad film, just an anxiety passed between loved ones.
  73. French Girl
    For every inventive or simply satisfying rom-com, there are dozens of clumsy, rote ones — French Girl falls among the latter.
  74. Stormy
    “Stormy” shows you what the scandal looks like from inside the sensationalist bubble of fame, and by the end of the film you may be a little bit ashamed of us all.
  75. Immaculate
    No small part of the satisfaction of Immaculate comes from witnessing someone find faith in herself.
  76. Arthur the King
    This true-life tale about perseverance, compassion and second chances cuts right to the quick. While it doesn’t stray from a predictable path, the journey is rarely dull, making our travels and these characters’ travails feel worthy of the big screen.
  77. The Fall Guy
    The Fall Guy is funny, it’s sexy, and it features the boy toy version of “Barbie” MVP Ryan Gosling — which is to say, this time around, he embodies the ultimate action figure.
  78. Monkey Man
    The movie has three extended action sequences, and I would have been happier if it had eight of them — that is, if it had less pretensions and, like the “Wick” films, was more willing to wear its pulp on its sleeve.
  79. The Ballad of Davy Crockett
    Throughout much of The Ballad of Davy Crockett, it’s hard to shake the impression that an hour’s worth of plot has been padded to feature length.
  80. Accidental Texan
    Undemandingly entertaining, director Mark Bristol’s well-crafted indie can be savored as a heaping helping of palate-cleansing sherbet, best enjoyed between viewings of bigger and louder but by no means better movies. And yes, that’s meant as a compliment.
  81. Cabrini
    Little insight is gained from what’s on screen.
  82. Glitter & Doom
    Frenetic, repetitious and simplistic, it relies heavily on the stylized spectacle of the song numbers and lyrics to bolster the disappointing drama.
  83. First Time Female Director
    Though its loose, improvisatory feel is suited to the material, most of its humor feels like the first draft of a better film — as though the entire movie consists of what should have been deleted scenes.
  84. Y2K
    It’s not that the two parts of the movie don’t go together. It’s that the last hour of it, the cheeky dystopian alien-tech horror farce, simply isn’t very good.
  85. The Queen of My Dreams
    It does little to separate itself, thematically or stylistically, from a now repetitive form of “third culture” storytelling.
  86. Red Island
    Its autobiographical elements are keenly felt, as Campillo grapples intelligently not just with the blind spots of his personal past, but those of his national heritage.
  87. Babes
    With Adlon there to spot them, Glazer and Buteau trust-fall into their respective parts, potentially unlikable qualities and all. At times, the pair get so filthy, you may not believe your ears. But strength, as the saying goes, comes from the mouth of babes.
  88. Road House
    The action in Road House is beyond brutal; at moments, it’s vicious. Yet if the movie is far more violent than your average action film, in its slightly crackpot bare-knuckle way it’s also more humane.
  89. Imaginary
    Imaginary, despite a few creepy moments, is starved for scenes that make the fear it’s showing you relatable.
  90. Damsel
    What matters most is whether we believe Brown in the role, and the “Stranger Things” star has no trouble embodying the kind of quick-thinking independent mind it takes to survive such an adventure.
  91. Ricky Stanicky
    Cena makes it impossible to imagine another person in the part. He’s game to go big, which fits Rod’s frustrated-actor persona, while also having the capacity to play vulnerable and sincere.
  92. Kung Fu Panda 4
    Po goes through the motions, but I’m sorry, the kick is gone.
  93. Amelia's Children
    A climactic tilt into a fight for survival remains sharply rendered by Abrantes, but it unfolds towards a forecast destination. The film’s evocative edge is gone.
  94. Outlaw Posse
    Outlaw Posse proceeds at something a bit slower than a full gallop, and incorporates more subplots than it can adequately do justice. But it never feels dull, thanks in large measure to the game performances of well-cast supporting players in an ensemble.
  95. Veselka: The Rainbow on the Corner at the Center of the World
    The film’s attitude seems to be: Come for the pierogis and goulash, stay for the humanitarian valor. Fair enough, but I wish the movie had drawn a deeper connection between the taste of freedom and the taste of Veselka.
  96. The Greatest Love Story Never Told
    The Greatest Love Story Never Told, the third part of her album-cycle media offensive, delivers precisely the revelatory perspective that its counterparts lack.
  97. Ryuichi Sakamoto | Opus
    Far more than a showcase of his talent and productivity, Ryuichi Sakamoto: Opus lets Sakamoto deliver an elegy, and in the process, an autobiography of his creative journey, as captured through the precision and poetry of director Neo Sora’s camera.
  98. As We Speak: Rap Music on Trial
    Not unlike its subject, the documentary’s power, beauty and complexity lie in Harper’s use of rhetoric and lyricism.
  99. The Roundup: Punishment
    The Roundup: Punishment minimizes unnecessary originality, while gloriously maximizing the opportunities for Lee to crack wise, or look aggrieved and a little bored, as though he’s just remembered he needs to do laundry, all while his meaty forearms land a flurry of sledgehammer punches so rapid their recipients, often quite literally, do not know what hit them. This, truly, is cinema.
  100. Pepe
    De los Santos Arias sends us on an uncategorizably odd journey down the river of his noodling, needling imagination in a rickety canoe that keeps on capsizing, upended by another sideswiping reference, another jarring change of scene and timeframe or yet another stretch of borderline incomprehensible narration from Pepe himself, a creature who is as surprised as we are that he has suddenly acquired language.
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