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. Liv Ullmann, directing her second Bergman screenplay (after 1997’s “Private Confessions”), extracts every nuance from the tantalizing material.
  2. This tale of mismatched lovebirds begins with considerable charm but eventually loses its winning ways with an excess of ridiculous elements.
  3. Most discomforting of all is the sight of world-class actors stuck in such threadbare material.
  4. Nicholson is outstanding as he gradually but tellingly sketches in aspects of a man driven by a mission that outstrips his instincts as a professional lawman.
  5. Robbins is such a live wire that he's able to jumpstart his co-stars whenever they're interfacing onscreen.
  6. It's doubtful that anyone, even executors of Greene's literary estate, will be able to discern much of the source material in this frenetic trifle.
  7. Grounded in bedrock formula and earnestness.
  8. Enormously ambitious and masterfully made, Traffic represents docudrama-style storytelling at a very high level.
  9. A half-broken adaptation of Cormac McCarthy's great modern Western novel. Neither dull nor exciting.
    • 44 Metascore
    • 40 Critic Score
    Vatel, a no-expense-spared costumer, is further proof that all the money and technical expertise in the world are no substitutes for a good screenplay and creative direction.
  10. Reasonably intelligent, well-crafted and dramatically understated.
  11. It's a film of myriad minor pleasures but scant compelling qualities.
  12. Combining a coming-of-age story with the sad odyssey of a woman punished for her beauty, the film ultimately has too little depth, subtlety, thematic consequence or contemporary relevance.
    • Variety
  13. A dense, emotionally satisfying portrait of a man, a time and a place.
  14. Visually detailed but emotionally dry.
  15. Overall, though, the slapdash pic appears to be the work of folks who made things up as they went along; you might say they were, well, vamping.
  16. Stumbling its way down the comedy runway, Miss Congeniality is yet another miscalculated vehicle for the ever-feisty Sandra Bullock.
  17. A bona fide populist laugh riot.
  18. A charming, if lightweight, Coen brothers escapade flecked by plenty of visual and performance grace notes.
  19. Meticulous, sumptuous production design, and striking visuals compensate for the lack of dramatic momentum in a film that arguably stretches narrative form to its limits.
  20. A slickly produced slice of sentimental hokum that borrows freely from a half-dozen or so other, better feel-good fantasies.
  21. Provides a platform for Sean Connery to deliver a definitive, career-summation performance.
  22. A good, old-fashioned suspenser.
  23. Distinguished by its quiet, intelligent, admirably restrained approach and by two finely wrought performances from Harris and Marcia Gay Harden in the leading roles.
  24. A quasi-metaphysical revenge Western that remains as elusive as a distant mirage on a long, dusty trail.
    • 60 Metascore
    • 80 Critic Score
    The top-notch cast never hits a false note.
  25. Light, taut and compact, the zippy adventure is sometimes much too hip for the room.
  26. Sheer energy and audience allure to burn, even if numerous speed bumps cause many of the comic possibilities to go tumbling overboard.
  27. Aimed squarely at adolescents who might find "Bill & Ted's Excellent Adventure" too intellectually taxing.
    • 64 Metascore
    • 90 Critic Score
    The most satisfying epicurean feast since "Big Night."
  28. Remains exciting as long as it stays on the mountains.
  29. Stunningly bad sci-fi/fantasy hokum.
  30. A disappointingly routine thriller that prefers to lean on tired Hollywood conventions rather than to explore fresh dramatic and stylistic territory.
  31. Brilliance of the action and effects are supplemented by a consistently superior and resourceful score by Tan Dun.
  32. Amateurish, undramatic and bereft of any sense of pacing.
  33. At its best, in its early, more subdued passages, Poor White Trash provides a couple of pristine comic moments. At its worst, it spirals uncontrollably into an unfunny void.
  34. A typical grab bag of works of varying depth, all of them breezy and entertaining.
  35. Soberly and intelligently examines the fear, frustration, anxiety, animosity and boredom of waiting to advance into the terrifying other world that lies over the lip of the trenches.
  36. A pale reworking of its predecessor.
  37. Possesses sufficient intrigue to hook audiences and keep them on board much of the way.
  38. Lacks an edge of danger or excitement that might have brought the subject alive in more than a cerebral way.
  39. Has nothing much to say.
  40. Simultaneously contrived and genuinely felt.
    • 82 Metascore
    • 70 Critic Score
    An imaginative, fascinating film.
  41. Never less than gripping as an account of what happened and what went terribly wrong.
  42. Though animated sequels of popular kids' fare tend to perform lower than their progenitors, this one should buck the trend.
  43. A mostly standard-issue latter-day Arnold Schwarzenegger actioner spiked with a creepily plausible cloning angle.
  44. Shrill, strenuous and entirely without charm, Ron Howard's attempt at a Christmas classic is an elaborately wrapped empty box that will fool many people into buying it but will not greatly please its recipients.
  45. Encapsulates the turbulent times of the Students for a Democratic Society.
  46. A winning look at cross-cultural romance.
  47. As dull and arid as a hike through the desert.
    • 56 Metascore
    • 60 Critic Score
    Those in search of positive role models and films detailing little-known aspects of black and military history, or stressing the value of tenacity and hard work, pic has something to offer.
  48. Sandler turns the joke around on his detractors and manages to lead a devilishly energetic vehicle that contains about as many laughs as his previous features combined.
  49. A sensitive, intimate, enormously touching drama.
  50. A compelling story of love and obsession whose progress mirrors the sinuous flow of the Shanghai waterway that supplies its title.
  51. Despite some memorable high points, pic plays like "Love! Valour! Compassion!" -- without the laughs.
  52. A cumulatively devastating and visceral insight into the horrors of war.
  53. A lightweight, modestly engaging yarn sporting reductive mystical and philosophical elements that are both valid and borderline silly.
  54. This entertaining confection possesses the substance of the TV show, the pacing of a Hong Kong actioner and the production values of a James Bond thriller.
  55. A film that ultimately feels stagebound and excessively talky, but which showcases an exceptional performance.
  56. A mildly entertaining but dramatically messy kidpic.
  57. An easygoing kitchen-sink comedy with an unsettling final act.
  58. It is all the more heart-wrenching for being realistic. Its portrait of child labor brooks no sentimentality and no cliches.
    • 36 Metascore
    • 30 Critic Score
    The irony is that this film about the superficiality of celebrity-crazed Western society is itself somewhat superficial.
  59. Disappointing in every aspect.
  60. Strictly a minor-league late fall entry.
  61. Though often enjoyable, it’s an old-fashioned, feel-good movie whose significance is more sociological than cinematic.
    • 14 Metascore
    • 20 Critic Score
    While good to look at, is devoid of psychological depth or credibility, and further marred by weak, often risible performances.
  62. Entombs its characters so thoroughly in a prison of palpably predestined tragedy that one knows from the outset that the very worst that can happen most certainly will.
  63. Well positioned to slake the thirst of action fans for world-class, slam-bang rough stuff.
  64. Looks and sounds wonderful, and while more information about these giants of African-Latin music might have been welcome, the music's the thing.
  65. An unusual film that intelligently avoids numerous potential pitfalls even if its central earnestness is ultimately inescapable.
  66. The 2000 version is louder, broader and much, much bigger.
  67. A lark gone utterly awry.
  68. It goes down as easy as a cherry Coke.
    • 30 Metascore
    • 20 Critic Score
    The unsophisticated, even crude result is not likely to win over too many tots.
    • 16 Metascore
    • 20 Critic Score
    The hallucination sequences are among the pic's creepiest.
  69. Gere breaks through with what may or may not be his best performance.
  70. The large, talented cast elevates the film above the trappings of its loquacious debates, particularly Allen.
  71. Strikes a delicate balance of comedy and pathos with an uplifting final act that delivers a resoundingly satisfying emotional payoff.
  72. The question isn't where is the love but where are the laughs?
    • 65 Metascore
    • 70 Critic Score
    In one of his best leading screen turns, Dafoe makes a potentially unlikely construct into a fascinating, full-blooded figure.
  73. There’s a light touch in evidence, balancing the bleakness with odd lyrical moments and unexpected humor and tenderness that infuse the gentle drama with a bracing freshness.
  74. Walks the line between conviction and camp with a not entirely steady step.
  75. An OK mishmash.
  76. No mere crime drama, but rather the latest in the recent resurgence of independently financed, spiritually themed pics that seek to couch religious dogma within the shells of B-grade genre entertainment.
  77. For all the pic’s sentimentality, De Felitta refuses to back away from some unpleasantly realistic touches.
  78. Occasionally biting but excessively melodramatic.
  79. A useless remake of Mike Hodges' 1971 British gangland cult classic.
  80. Feel-good quality fare.
  81. Voice work is weirdly awful and funny at the same time.
  82. A flat-out hilarious mainstream comedy.
  83. It’s technically striking filmmaking, to be sure, but what it’s presenting is nothing that many people will want to look at.
  84. There's no particular reason to see this disappointingly trivial picture on the bigscreen.
  85. Blends in a most satisfying manner the conventions of several genres, resulting in a coherent picture that is at once a poignant inner-city drama, a rousing sports movie, an emotional family yarn and, above all, a sweet romance.
  86. Earnest and well-intentioned.
    • 52 Metascore
    • 40 Critic Score
    An only occasionally interesting look at a rather ordinary bunch of musicians.
  87. A barkingly funny new "mockumentary" that does for those canine pageants what the helmer's 1996 "Waiting for Guffman" did for smalltown theatrics.
  88. A vulgar, Z-grade variant on last year's "Mystery Men" for those who didn't get their fill the first time around.
  89. The resulting film is one of too much reverence and not enough satire.

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