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. The Creator
    The emotional core of The Creator rests on the shoulders of a star who has just one gear: angry. The rest wants to be “Blade Runner,” but plays more like a cross between “Elysium” (with its floating futuristic fortress and specious political message) and “The Golden Child” (about an all-powerful Asian kiddo in desperate need of protecting).
  2. The Human Surge 3
    The Human Surge 3 doesn’t have defined characters or even very coherent conversations, but its swirling of reality conjures an absorbing dreamscape.
  3. Poolman
    I take no vicious pleasure in saying that Poolman, a movie that Pine co-wrote, directed, and stars in, is not only the worst film I saw during the fall festival season but would likely be one of the worst films in any year it came out.
  4. The Toxic Avenger
    This is an inside joke of a film, but it’s also one that wants you to be in on it.
  5. Fingernails
    A love story hinging on human chemistry as a disruptive force would fall to pieces if its stars didn’t have that very unquantifiable quiver of static between them. But Buckley and Ahmed play off each other exquisitely, gradually reflecting each other in motion and mien, each looking at the other with the kind of facially centered full-body want that no amount of dialogue can convey on its own.
  6. Pet Sematary: Bloodlines
    “Who asked for this?” is the question such projects invoke, and Lindsey Anderson Beer’s film never comes up with a satisfying answer.
  7. Together 99
    What’s strange about Together 99 is that it looks like a Lukas Moodysson film (natural light), it moves like a Lukas Moodysson film (the documentary-like flow), but it’s blanketed with a sodden forlorn Swedish bourgeois cynicism that makes you think Moodysson needs to get out more.
  8. No One Will Save You
    The film is most successful when it finds Brynn in survival mode.
  9. Expend4bles
    This is true 21st-century trash: a movie in which the action itself is expendable.
  10. The Storms of Jeremy Thomas
    The Storms of Jeremy Thomas persuasively makes the case for closer scrutiny of a producer’s career, though it leaves viewers with some homework to do.
  11. They Shot the Piano Player
    Jazz and animation make for strong bedfellows in They Shot the Piano Player, a film from Spanish directors Fernando Trueba and Javier Mariscal that represents an intriguing hybrid in all sorts of ways.
  12. The Royal Hotel
    Green is a storyteller with such control that we don’t leave the theater feeling patronized or hectored. She’s thought everything out, and planned it so that every scene in The Royal Hotel is as gripping as it is pointed.
  13. Shoshana
    In addition to sterling work by the three young principals, Ian Hart gives a standout performance as the British High Commissioner’s ubiquitous righthand man, offering a supercilious, world-weary gravitas that seemingly epitomizes the official British attitude to the Mandate.
  14. The Featherweight
    The film is convincingly fashioned as a candid all-access documentary, a promotional puff piece curdling before our eyes into an unintended study of mental breakdown.
  15. It Lives Inside
    Though the results aren’t terribly original or memorable, they do provide a creepy 90-odd minutes.
  16. Hesitation Wound
    In images tinged with the blue of sadness, the green of decay and the bilious yellow of institutional hallways, Nacar makes remarkably suspenseful drama out of one hyper-committed woman’s refusal to curry sympathy, as she crosses Rubicon after ethical Rubicon in one 24-hour period.
  17. PAW Patrol: The Mighty Movie
    While not as subversive as its predecessor, it delivers on the promise of a smart and salient sequel with bolder action, bigger stakes, and deeper resonance for all ages.
  18. Society of the Snow
    It’s up to the individual whether to see this story as a miracle or a tragedy, Numa says in voiceover; Bayona’s film, for all its forceful feeling, doesn’t decide for us.
  19. Nyad
    Audiences want to see Diana Nyad succeed, but the pleasure of the experience comes from watching actors become these characters. No matter how tricky such feats must have been to re-create, you get the impression that everyone involved was having a blast.
  20. Sly
    Throughout the film, he’s so calmly but blazingly articulate, so candid about the processes of moviemaking and his strengths (and weaknesses) as an actor, so wise about the meaning of his own stardom, that I realized, with a touch of embarrassment, a prejudice I’ve been carrying around for 47 years. Deep in my reptile brain, I still think Sylvester Stallone is Rocky.
  21. Radical Wolfe
    It’s a highly entertaining movie that manages to pack in more or less every important thing you’d want to know about Tom Wolfe.
  22. Invisible Beauty
    Invisible Beauty will likely make you hungry for Hardison’s book. But in a twist, one might wonder, can it be as good as the movie?
  23. Outlaw Johnny Black
    The new film nonetheless provides more than a few good laughs, even when it seems to be taking horse opera clichés a tad too respectfully, and showcases a fine cast of actors dedicated to both the silliness and the seriousness of the enterprise.
  24. Knox Goes Away
    Knox Goes Away doesn’t traffic in comedy — or exaggerated reality. In addition to being a noir that holds you exactly the way a noir should, it may be one of the best dramas about dementia I’ve ever seen.
  25. Pain Hustlers
    Pain Hustlers takes an off-putting mock-documentary approach to this tragedy, focusing on a handful of sleazebag salespeople who bent the rules to incentivize doctors to prescribe Lonafin (the film’s fictional Subsys substitute) first for treating cancer pain, and later for conditions as mild as migraines.
  26. The Burial
    Director Maggie Betts has a rousing old-school crowd-pleaser on her hands with this truth-based (albeit strategically embellished) drama featuring the most entertaining performance yet from Jamie Foxx, who makes a day in court feel like going to church.
  27. One Life
    Although the film as a whole struggles to match the poignancy of its finale . . . it nevertheless serves as an urgent reminder of the importance of individual action at a time when the world refugee crisis is at a scale not seen since the Second World War.
  28. Janet Planet
    It’s striking proof of an original sensibility.
  29. Next Goal Wins
    The idea is to have a good time, and Waititi knows how to give audiences that.
  30. Dream Scenario
    Is this a fantasy? A fable? A new kind of horror movie? Actually, Dream Scenario is all of the above and then some, for it also shares a certain postmodern DNA with two of Cage’s most boundary-pushing movies, “Adaptation” and “The Unbearable Weight of Massive Talent.”
  31. American Fiction
    The helmer trusts his audience to bring themselves to the material. Ultimately, that’s what makes reading “American Fiction” so rewarding.
  32. Memory
    Memory invites debate, rather than imposing a specific interpretation. It’s also a film that lingers, shifting and expanding in significance, even as the details start to blur.
  33. Io Capitano
    Me Captain is surprisingly classical in construction and style, wisely guiding our attention away from its sure directorial touch and toward the story at hand — pieced together by a small army of screenwriters and collaborating contributors from first-hand migrant accounts.
  34. A Haunting in Venice
    Playful turns from a shrewdly selected supporting cast elevate the case from just another murder mystery to suitably arch gothic horror.
  35. Dumb Money
    [A] smart, light-fingered, brashly entertaining finance-world docudrama.
  36. Enea
    The director himself has described the film as a “genre story without a genre,” and as such Ena effectively mirrors its protagonist’s equal detachment from all facets and possibilities of his fabulously floundering life. In theory, this makes sense. Dramatically, however, it’s a dead end, unaided by sporadic, leaden stabs at farce and whimsy.
  37. Green Border
    While you’re still in the vice-like grip of its multilevel narrative it may not feel like it, but a film like Agnieszka Holland’s bruisingly powerful new refugee drama ultimately comes from a place of optimism.
  38. The Universal Theory
    An overlong but enjoyable metaphysical thriller that delivers pastiche so meticulous it becomes its own source of supremely cinematic pleasure.
  39. Adagio
    While the craft team here feel at the top of their game, delivering scene after scene of perfectly composed glossy, grimy, sweaty tableaux, the script could have used a bit more time to sharpen up. Still, there are some zingy, zesty sequences here that really pop.
  40. Finally Dawn
    One can sense what Costanzo’s trying to do, but he’s made a fatal miscalculation: Mimosa is not leading lady material, and 140 minutes is far too long to spend pretending otherwise.
  41. The Promised Land
    Notionally rooted in historical fact, but embellished with storybook romance and flouncing cartoon villainy, this roundly enjoyable Venice competition entry finally owes all its residual gravitas (and at least half its considerable handsomeness) to the expressive woodcut visage of one Mads Mikkelsen.
  42. Dicks: The Musical
    "Dicks” is an unapologetically puerile, hard-R novelty that’s just lo-fi enough to maintain its underground cred.
  43. Origin
    The film will get people thinking and talking. The way DuVernay directs it, Origin is a swirling tornado of ideas.
  44. The Boy and the Heron
    Better to think of The Boy and the Heron as the bonus round — a worthy but mid-range addition to a remarkable oeuvre that expands his filmography without necessarily topping it.
  45. My Big Fat Greek Wedding 3
    This threequel is surprisingly lifeless and almost laugh-less.
  46. Sitting in Bars with Cake
    Where Jane feels thinly sketched in pastels, Corrine’s portrait has been detailed in bright permanent markers. A’zion roils with emotions and her character is funny, mercurial, reactive and real.
  47. The Nun II
    In some respects an improvement on its predecessor, in others not, this is finally one more good-enough if unmemorable entry sure to extend the series’ life in lucrative fashion.
  48. Rotting in the Sun
    With its tricky tone and its wildly ambitious themes, it’s not surprising to find Silva’s outrageous, salacious film stumbling as it brings its many threads into focus. Like Sebastián’s art and his journal in the film, Rotting in the Sun remains a patchwork of quotes and ideas and provocations hastily if hilariously stitched together.
  49. DogMan
    Maybe Dogman would be salvageable if Besson didn’t feel the need to thuddingly explain every single aspect of Doug’s quirk-laden personality, as though every last thing that a person is can be traced in a straight line back to a cause, because psychology is a long division sum that never leaves a remainder.
  50. Coup de Chance
    It’s not a comedy, but as you watch it you can almost see Woody Allen standing off to the side, chuckling at the human folly he’s showing you.
  51. Evil Does Not Exist
    It may not be wholly successful, but it certainly is bleakly fascinating to witness a master filmmaker paint so subtle and soothing a portrait of humanity, only to finally, bitterly remind us that there is no soothing nature – human or otherwise – when there’s a bullet in its belly.
  52. Rustin
    Directed by George C. Wolfe with the same passion and conviction that defined its subject, Rustin reminds that the pursuit for equality has never been and should never be satisfied with the advancement of a single group.
  53. The Bikeriders
    It goes a long way to humanize figures who’ve been long misrepresented on film, while giving audiences privileged access to this inner world.
  54. Hit Man
    Hit Man is studded with delicious moments, but as amusing as the movie is it has a plot that sprawls forward in a rather ungainly fashion, and it goes on for too long.
  55. The Beast
    Laden with enticing ideas and images that never quite activate each other, “The Beast” instead coagulates into a thick 146-minute triptych of general, fidgeting malaise, and strands a hard-working Léa Seydoux and George MacKay in a cross-time, cross-purposes relationship that keeps shape-shifting without getting us terribly involved.
  56. AGGRO DR1FT
    Because Korine’s never been one to subscribe to traditional narrative tropes, there’s an insidious sort of suspense running beneath the otherwise-thin plot, like some kind of high-voltage electric current.
  57. Priscilla
    The daring thing Coppola does, given that we’re used to seeing even sophisticated biopics weave the lives they’re showing us into dramatic arcs, is to present the rise and fall of Priscilla and Elvis’s relationship as a diary, one that simply flows forward in a kind of objective Zen fashion, never trumping anything up.
  58. The Holdovers
    The Holdovers is a film about class and race, grief and resentment, opportunity and entitlement. It’s that rare exception to the oft-heard complaint that “they don’t make ’em like they used to.”
  59. The Killer
    In The Killer, David Fincher is hooked on his own obsession with technique, his mystique of filmmaking-as-virtuoso-procedure. It’s not that he’s anything less than great at it, but he may think there’s more shading, more revelation in how he has staged The Killer than there actually is.
  60. Saltburn
    Fennell’s debut promised a fearless original voice and style. Saltburn certainly has attitude, but nothing new to say.
  61. Maestro
    Maestro can’t help but be dominated by the grandeur of Bernstein’s passion, his outsize flaws, and the tightrope he walked between the need to find the meaning of beauty and the desire to stay fancy free. Yet Cooper and Mulligan make the movie a duet to remember.
  62. Poor Things
    Oddly moving in its fervor and abundance, Poor Things may appear a far cry from the harsh, stripped ascetism of an early work like “Dogtooth.” But they’re actually similar animals, fixated on taking people apart to find what makes them tick, what makes them swoon, what makes them interesting.
  63. All of Us Strangers
    The entire journey is not based in logic so much as a kind of emotional intuition, and as such, no two viewers will experience it the same way. What strikes some as manipulative will crack open others, as the film offers a kind of connection that’s all too rare, and maybe even impossible.
  64. The Wonderful Story of Henry Sugar
    Practically all that’s missing is an appearance by Anderson himself, the way Alfred Hitchcock used to present episodes of his television series. Then again, one could say he’s present in every frame.
  65. Choose Love
    These filmmakers have trouble finessing their shenanigan-laced setups into anything but frequently frustrating, unsatisfactory conclusions. This title urges us to choose love, but audiences should choose to not play along.
  66. Ferrari
    The specter of death haunts the racing scenes in “Ferrari.” That’s part of their intoxicating charge. But it isn’t just the action that’s fraught with thrilling danger. Every moment of the drama moves with a sense of high-stakes dread, of underlying emotional turbulence.
  67. El Conde
    As a magnificently unlovable art-house object, El Conde is perhaps best approached as a challenge: Run the gauntlet if you dare, and if, at the other end, you emerge dazed and disturbed rather than straightforwardly entertained, perhaps those are just the splinters you get when you try to stake a vampire.
  68. Comandante
    If the characters, apart from Salvatore, had been more developed, there might be more drama to it, but Comandante, in its honorable and slightly gloomy way, has been conceived as the delivery system for a humanitarian message.
  69. The Equalizer 3
    Beyond the righteous action and visceral violence, it’s Washington’s swagger and charisma that compels.
  70. Vacation Friends 2
    If anything, delving into action/comedy territory distracts from what made the original kinda-sorta touching at a few key moments: the heart beneath the hijinks. It’s still beating here, but not as strongly as it did the first time.
  71. The Dive
    If The Dive’s final stretch feels a bit less urgent than what precedes it, one appreciates that the filmmakers did not pile on the usual melodramatic gotchas, hewing to a relatively realistic course of events.
  72. Our Father, the Devil
    A cutting, at times unwieldy exploration of trauma and forgiveness, the enigmatic drama goes places you almost certainly won’t expect — and, once there, makes you wonder how you ever thought it could have gone anywhere else.
  73. Retribution
    The film’s 90 minutes whiz by.
  74. Mob Land
    Maggio has cobbled together a modestly diverting, effectively atmospheric but blatantly derivative crime drama sprinkled with a few joltingly nasty plot twists.
  75. You Are So Not Invited to My Bat Mitzvah!
    Director Sammi Cohen and screenwriter Alison Peck bestow this hilarious, heartrending adaptation of Fiona Rosenbloom’s novel with an uplifting, effervescent vision and vitality, giving voice to a young Jewish girl’s struggle to figure out who she is before the most important night of her life so far.
  76. birth/rebirth
    Laura Moss’ superbly performed, enjoyably queasy Birth/Rebirth proves just how well the classic tale of scientific hubris and the desire to conquer death maps onto a gory maternity morality play, reanimating the truism that there’s little more (un)deadly than a mother’s love.
  77. Back on the Strip
    Despite wall-to-wall narration by Haddish (at her most raunchy), the movie does a clumsy job of telling a not-very-complicated story. Then again, this lean team effort is Sanders’ directorial debut, and he gets the laughs.
  78. Peter Case: A Million Miles Away
    Watching this film satisfying tie up Case’s loose ends, you can still lament the lost promise of the Plimsouls, or wonder what might’ve happened with a more copacetic label/artist relationship.
  79. Strays
    Strays balances human expectations and lost-in-translation animal experiences for a smart, suitably raunchy adventure that should resonate even if you don’t have a furry friend waiting at home for you afterward.
  80. Love in Taipei
    The story’s core strengths are undervalued in the translation from book to screen.
  81. Blue Beetle
    Maridueña, playing Hollywood’s first Latino superhero, proves an appealing star. And the novelty of casting a comic-book blockbuster with a mostly unknown crew of vibrant Latino actors finds its emotional grounding in Jaime’s family.
  82. Heart of Stone
    What makes Heart of Stone such an enervating experience isn’t that it’s incompetent but that nothing in it matters. It’s all bombast and noise, all hollow logistics, all virtual “Minority Report” screens and clattering fury signifying nothing. In other words: Time to start planning the sequel.
  83. The Last Voyage of the Demeter
    That’s the most poetic thing in the movie. The rest of the time, The Last Voyage of the Demeter is too explicit, too dawdling yet rapid-fire, too much like other horror films.
  84. Gran Turismo
    There’s an innocence to this one, and a surprise authenticity. It’s like a “Fast and Furious” movie made without cynicism, and it gets to you.
  85. Meg 2: The Trench
    The Meg 2 is numbingly formulaic, promiscuously derivative and, for a few stretches (like the over-the-top third act), diverting in its very shamelessness. It is, in other words, all an August movie really needs to be. But there’s a way that the line between August movies and movies, period, is growing thinner every day.
  86. The Beasts
    The film’s big scene is upsetting and unforgettable, one of those movie moments you can’t unsee and which seems destined to haunt you for years to come.
  87. Teenage Mutant Ninja Turtles: Mutant Mayhem
    The movie’s mostly just meant to be fun, and that it is, skewing young while giving lifelong fans (including those who grew up on the Turtles) plenty to geek out about.
  88. Happiness for Beginners
    Well-behaved to a fault, Happiness for Beginners is sweet but a little tentative.
  89. Medusa Deluxe
    This kinetic if not-quite-novel presentation doesn’t entirely patch over the weaknesses of Hardiman’s script, with its exhausting whirl of characters more colorful than they are shaded, and plotting that eventually runs out of compelling diversions from the matter at hand.
  90. Haunted Mansion
    While the visual effects are surprisingly weak for a film of this scale, the script (from “Ghostbusters” writer Katie Dippold) proves far better than anyone might expect, establishing an emotional foundation for what might otherwise be a gimmick-driven haunted house movie.
  91. Our Body
    Simon’s nonjudgmental, empathetic curiosity is the film’s great strength. But it’s also shocking that still now, in 2023, it can be such a revelation, as women, to see “Our Body” portrayed without sexualization and without stigmatization — without, in a word, shame.
  92. Sympathy for the Devil
    The tension that should fire up this joint throughout never quite catches hold, because there are never any tangible stakes. These characters and their crisis remain just a premise, too incompletely worked out to either generate urgent suspense or enter the realm of surreal fantasia as Cage did in a long-ago road nightmare, “Wild at Heart.”
  93. Corner Office
    Like head-in-the-clouds Orson, Back’s debut feature imagines more for itself than others can see, though only the latter has earned a shot at another job.
  94. Return to Dust
    A later-life love story of the gentlest kind, Li Ruijun’s Return to Dust is an absorbing, beautifully framed drama that makes a virtue — possibly too much a virtue — of simplicity.
  95. The Beanie Bubble
    Tonally, the movie walks a tricky line between easy-target satire and female-empowering corporate case study, falling into the overcrowded junk-culture nostalgia-porn category so recently represented by “Tetris,” “Air,” “BlackBerry” and “Flamin’ Hot.”
  96. Stephen Curry: Underrated
    With enough fresh stories to keep basketball fanatics engaged and a coda that every soccer mom will appreciate, this is a film that’s worthy of its subject.
  97. Cobweb
    Director Samuel Bodin’s first theatrical feature is atmospheric, and departs from stock slasher conventions just enough to make for an entertaining if unexceptional scarefest.
  98. Oppenheimer
    Even when "Oppenheimer” settles down into a more realistic, less phantasmagorical groove (which it does fairly quickly), it remains every inch a Nolan film. You feel that in the heady, dense, dizzying way it slices and dices chronology, psychodrama, scientific inquiry, political backstabbing, and history written with lightning.
  99. Barbie
    By showing a sense of humor about the brand’s past stumbles, it gives us permission to challenge what Barbie represents — not at all what you’d expect from a feature-length toy commercial.
  100. Mutt
    While Feña’s journey may contain some contrivances, the way this young man adapts to each predicament feels authentic and emotionally potent. That’s a testament to Lungulov-Klot, who succeeds in placing vivid characters in slightly heighted situations — amplifying our connection in the process — without sacrificing the sense of realism that makes “Mutt” so relatable.
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