Variety's Scores

For 17,765 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:
17765 movie reviews
  1. Stars Zellweger and McGregor are too knowingly nudge-wink in their performances, too much contrived constructs to become real characters, let alone fuel the romantic comedy engine and make an audience care much whether they end up together.
  2. Nancy Savoca's workmanlike record of a La Mama stage performance taped last December finds the comic spinning some not-especially-interesting anecdotes about her bewildered actions that day, before turning toward more incisive political commentary.
  3. The deft shading he (Byler) elicits from his thesps is of a piece with his dramatics and his understated, artful approach to compositions and movement.
  4. About twice as good as the original...bigger and more ambitious in every respect, from its action and visceral qualities to its themes.
  5. The film is powered by a superbly controlled performance from Javier Bardem. While it lacks economy and could have used a firmer hand in shaping the key central relationship, this intelligent, arrestingly sober drama packs a cumulative punch.
  6. Philip Seymour Hoffman and John Hurt give compelling performances... But the coldly unrewarding drama is as distant and joyless as its protagonist, representing a disappointment for director Richard Kwietniowski.
  7. This melancholy, insightfully scripted coming-of-age drama is moving without being manipulative and makes an assured calling card for writer-director Karen Moncrieff.
  8. Just two weeks after successfully targeting boys with "Holes," Disney is giving girls something they want with this mild, quasi-romantic romp.
  9. Another satirical view of the everyday insanity of working within the Industry, slickly made New Suit adds no special insight to the subgenre.
  10. Docu dispassionately examines this strange phenomenon of anachronistic Americana, created as a newspaper promotion in 1925.
  11. Undone by an idea capable of hanging together for 30 minutes at best.
  12. Unabashedly tasteless, wholly trashy and, also, hugely entertaining.
  13. Has the comically grotesque appeal of a Fellini film and could reach out to auds in specialized release. It lacks the originality and invention to go much beyond that.
  14. Despite a name cast, with Dillon playing an insurance crook, pic is holed by a plot-heavy script that's unsatisfying at a character level and plays like a cut-down version of a much longer, more ambitious saga.
  15. An entertaining, deeply respectful assessment of the directors and actors who rode the countercultural wave of the 1970s.
  16. A bland gumbo of wartime intrigue and home-front soap opera in the bayou country of Louisiana.
  17. Stylish, compelling crime caper full of smoothly navigated plot twists.
  18. Some fancy footwork in the writing and directing can't disguise the hoary "Ten Little Indians" origins of Identity.
  19. Uneasily pivots between comedy and drama, with its best parts strongly reminiscent of Schepisi's previous, British-made drama about aging and dying buddies, "Last Orders."
  20. Compelling 24-hour odyssey into the life of a world-weary Gotham publicist, driven by a vivid performance from Al Pacino.
  21. A drama of impeccable intentions flawed by arch dialogue and only OK direction.
  22. The unfocused writing makes the film increasingly less convincing as it stumbles toward an awkwardly structured resolution -- closing on a conga line that makes "My Big Fat Greek Wedding" seem cutting-edge.
  23. The effects prove extremely uneven, with sub-par touches alongside astonishing and truly unforgettable shots.
  24. Visually stunning, practically dialogue-free and very family-friendly.
  25. Holes will no doubt speak clearly and appealingly to its intended early teen audience.
    • 83 Metascore
    • 90 Critic Score
    Hard-hitting, dark and tragic story that rarely lets up.
  26. Ultimately implodes, letting down the 'hood, hip-hoppers and Jamie Kennedy fans looking forward to his first major starring role.
  27. Thesping and production values are solid and sometimes even attractive, but pic's overall American-style gloss becomes extremely odd and discomforting given the setting.
  28. Tremendous emotional force and uncompromising honesty.
  29. The gifted repertory company again creates an amusing gallery of incisively observed characters, riffing off each other with enjoyment levels that frequently prove contagious.
  30. Not surprisingly based on a comic book series by Brett Lewis and R.A. Jones (whom pic fails to credit), pic hurtles along at a pace designed by vet music vid and ad helmer Paul Hunter to engage short attention spans.
    • 33 Metascore
    • 40 Critic Score
    For the most part, the fast-moving pace, thankfully slight running time, attractive leads and infectious soundtrack distract from its many inconsistencies
  31. A strident, painfully repetitive and hopelessly stage-bound drama about self-indulgent twentysomethings on the fringes of the L.A. film scene.
  32. Chick agreeably captures the feel and flow of on-the-move young professionals in New York.
  33. Lin's nicely turned out picture is sometimes both predictable and a bit far-fetched narratively, but still provides a generally absorbing look at a slice of society normally taken for granted, both in life and onscreen.
  34. Gentle, touching tale.
  35. Though quite routine on the logistics of deep-sea exploring, pic develops a visual style as it replays the events of the sinking that some viewers may find more visually exciting and satisfying than what Cameron staged in his original mega-blockbuster.
  36. The antics here are strained, graceless and tiresomely crude, the sorts of things audiences feel they're supposed to laugh at rather than well-developed situations that generate genuine amusement.
  37. There seems to be no bottom to Going Down, a lame also-ran in the rapidly declining teen gross-out comedy genre.
  38. A cobwebbed, mummified horror entry that makes obvious, cartoonishly grotesque demands for attention.
  39. Sensitive directorial bow by editor Wiebke von Carolsfeld and solid performances lend conviction if not quite distinction to the drama Marion Bridge.
  40. Scheide's feature never quite seizes the potential for full-on "Stepfather" thrills or "Serial Mom"-style black comedy, leaving pic diverting but too mild.
  41. The attempt to draw certain connections between Griffin's material and its autobiographical origins feels slapped together, shortchanging both aspects of the film.
  42. Enormously satisfying, superbly crafted.
  43. Gussied up with a host of filmmaking tricks in an attempt to keep things lively, this intensely acted little exercise just doesn't have enough going for it, with the exception of gradually growing interest in lead Colin Farrell.
  44. This family affair is a squeaky-clean cable-ready comedy, unabashedly retro fluff.
    • 89 Metascore
    • 100 Critic Score
    Balkan probably gives her best performance to date to create a woman tormented by instability, sexual drive and psycho demons -- disjointedly portrayed in the script.
  45. It feels much more like a shameless reshuffle of "The Princess Diaries."
  46. Despite an effectively low-key performance by Billy Bob Thornton in the leading role, pic is no more spiritually insightful or illuminating than Sunday School instructional story, and a lot less dramatically coherent.
  47. Diesel makes a violent bid to align himself with the Clint Eastwood-Charles Bronson-Steve McQueen tradition, but he lacks the charisma, emotional strength and humor to do so.
  48. Though it isn't the entirely original creation "Metropolis" was, Bebop is more satisfying.
  49. A limp-to-wilted film version of Duras' 16-year-long love affair with a young man who became her secretary and literary executor.
  50. Sure, it's all been done before, but seldom with this degree of vigor and panache.
  51. A forceful, affecting experience.
  52. On just about every level -- as a thriller, as a romance and as a character study of a complicated man nearing the end of his professional life -- the film fails, and the meandering, sub-Cassavetes approach is likely to be a turnoff for all but the most indulgent viewers.
  53. More palatable than most pictures of its ilk due to its keen awareness of its own preposterousness, a self-knowledge exuberantly expressed by a mostly live-wire cast.
  54. So beneath the considerable talents of its star, Chris Rock, it's dismaying to note Rock is also the movie's director, producer and co-scenarist. Not unlike Richard Pryor a generation ago, Rock has yet to land a movie vehicle that captures the sparky energy and subversive bent of his excellent stand-up performances.
    • tbd Metascore
    • 80 Critic Score
    Jules Dassin, in his direction, manages extraordinarily interesting backgrounds, realistically filmed to create a feeling both of suspense and mounting menace.
  55. The teasing tale is told with such dispatch it will carry willing audiences along; genre staples of action, macho attitude and corruption through the ranks are delivered intact.
    • 47 Metascore
    • 80 Critic Score
    Jensen helms with assurance and maturity, with rapid but unhectic pacing, plenty of dark humor and deft action sequences that turn cliches from U.S. action-comedies into something very Danish.
  56. Unlikely to draw new fans but destined to please followers who couldn't catch the live act.
  57. As lethargic as the characters it portrays, the film requires greater staying power than many audiences will possess.
  58. Fine new chapter in the long-running franchise should score well with family audiences.
  59. High-octane plunge into pop gangster psychology.
  60. Unaffectedly hip and affably manic, Down & Out With the Dolls picks up where "Singles" left off.
  61. Washout. Lacking the mojo even to be offensive in its stereotypical view of gays and women, this excruciating cocktail of sitcom plotting and gross-out humor makes a clunky cheesefest like "The Love Boat" look like breezy, sophisticated fun.
  62. Silly, childish fun and as relaxing to watch as good American TV fiction -- and with a very similar world view.
  63. Flubs nearly every opportunity to be the comedy it wanted to be.
  64. Overlong and unwieldy grab-bag of vintage monster-movie elements starts intriguingly as a snowbound deep-woods chiller, but gradually dissolves into a mess of other-worldly invasion and military counter-offensive.
  65. Lacking any obvious thematic or emotional arc, compilation pic succeeds as a pure exercise in visual stimulus, its narcotic effect much amplified by Michael Gordon's thunderous, dissonant orchestral score.
  66. Its powerfully visual storytelling delivers great rewards as the meditative drama moves into increasingly complex, at times confrontational territory.
  67. Thoughtful, melancholy drama.
  68. Strictly for the birds.
  69. A golden opportunity to witness the "unplugged," after-hours George W. Bush at his most congenial. "George" offers a portrait of a gregariously charming and self-mocking fellow who's perfectly at ease in his own skin, and who's no less slick and savvy a politician for being willing to make himself the butt of jokes.
  70. Routine, superficial manhunt stuff.
  71. As a spy pic, it has more pizzazz than the last few Bond adventures, "The Sum of All Fears" or "The Recruit."
  72. Outrageously grungy and whacked-out walk on the wild side.
  73. Writer-helmer Gurinder Chadha assembles a gallery of broadly played stereotypes into a movie about social attitudes that's more rooted in small-screen sitcom than anything deeper.
  74. The dramatic trajectory is frightfully obvious, the characters tediously one-dimensional, the dialogue banal.
  75. Easy on the eye and effortlessly entertaining across almost 2½ hours.
  76. There are certainly good laughs to be had. But the contrived script and bland direction prevent the film from ever developing a comic life of its own, leaving what fun there is seeming like the foundation to a rumpus room that's never finished.
  77. A genuine and tangible fondness and respect for the characters and their eccentricities.
  78. A demanding but rewarding emotional odyssey in a challenging visual package.
  79. This is one of those pictures that unavoidably becomes part of the zeitgeist due to its coincidental arrival at a precise moment in history when its themes play into current events.
  80. A slowly inspiring saga of blood, sweat and horse dung, played with conviction.
  81. Ten
    10 dazzling and perceptive snapshots of women with which femmes everywhere can identify.
  82. Choreographed by long-term Li collaborator Corey Yuen, the martial arts confrontations supply plenty of spark, though they lack the more exhilarating stylistic flourishes of those in "Romeo."
  83. Callahan mostly overcomes its grungy technical quality with entertaining dialogue, nervy confrontation scenes, decent thesping and some truly spectacular shooting on the green velvet.
  84. Unfortunately, Wolman's flat direction accentuates the predictable course of his soft narrative.
  85. A dignified second film for Caetano.
    • 77 Metascore
    • 90 Critic Score
    Poignant, thoughtful and utterly absorbing, Susanne Bier's Dogme film Open Hearts is a gem.
  86. This dank, gloomy essay into the supernatural tries hard to create an intriguing mood in which fate guides the lives of its wounded protagonists, but few will be interested in the outcome.
  87. Refreshingly devoid of flashiness or artificially pumped-up action, this consistently gripping, well-constructed police thriller… showcases a tightly controlled performance from Kurt Russell.
  88. This slyly humorous, cleverly constructed comedy-drama wends its way through different takes on similar time frames to a warm, inclusive ending.
  89. Gods and Generals is American history transformed into a museum movie, consistently making the flawed human characters at the heart of the Civil War into flawless figures Olympian in their statuesque remoteness.
  90. This year's kinder, gentler "Animal House."
  91. Punches the expected buttons without being entirely convincing.
  92. While it's clear where the filmmaker's sympathies lie, the view presented is relatively balanced.
  93. Exhaustively informative and powerfully emotional.
  94. Pleasant if slightly pokey documentary.

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