Variety's Scores

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For 17,760 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 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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    • 18 Metascore
    • 20 Critic Score
    Death Wish 3
    Death Wish 3 adds significantly to the body count scored to date in this street-rampant series. Thrills, however, are way down due to script’s failure to build motivation for Paul Kersey’s latest killing spree.
    • 43 Metascore
    • 60 Critic Score
    A Nightmare on Elm Street 2: Freddy's Revenge
    Beneath its verbose, title, Jack Sholder's follow-up to Wes Craven's 1984 hit is a well-made though familiar reworking of demonic horror material.
    • 81 Metascore
    • 90 Critic Score
    To Live and Die in L.A.
    To Live and Die in L.A. looks like a rich man's Miami Vice. William Friedkin's evident attempt to fashion a West Coast equivalent of his [1971] The French Connection is engrossing and diverting enough on a moment-to-moment basis but is overtooled.
    • 73 Metascore
    • 60 Critic Score
    Re-Animator
    Pic has a grisly sense of humor, and sometimes is so gross and over the top the film tips over into a bizarre comedy.
    • 65 Metascore
    • 90 Critic Score
    Sweet Dreams
    Clearly the coal miner's daughter's cousin by both birthright and ambition, Sweet Dreams upholds the family honor quite well, with Jessica Lange's portrayal of country singer Patsy Cline certainly equal to Sissy Spacek's Oscar-winning recreation of Loretta Lynn.
    • 46 Metascore
    • 40 Critic Score
    Remo Williams: The Adventure Begins
    The film [based on The Destroyer series by Richard Sapir and Warren Murphy] never seems to know where it's going and, when the smoke has cleared, doesn't seem to have got there either.
    • 51 Metascore
    • 70 Critic Score
    Commando
    In Commando, the fetching surprise is the glancing humor between the quixotic and larky Rae Dawn Chong and the straight-faced killing machine of Arnold Schwarzenegger. Chong lights up the film like a firefly, Schwarzenegger delivers a certain light touch of his own, the result is palatable action comics.
    • 60 Metascore
    • 90 Critic Score
    Jagged Edge
    A well-crafted, hardboiled mystery by Joe Eszterhas, with sharp performances by murder suspect Jeff Bridges and tough-but- smitten defense attorney Glenn Close.
    • 66 Metascore
    • 40 Critic Score
    The Boys Next Door
    Unfortunately the film itself doesn’t live up to the expectations. Even if intentions are worthy, it emerges glib and uninvolvingly.
    • 29 Metascore
    • 30 Critic Score
    Invasion U.S.A.
    A brainless plot would be almost forgivable were it not for the perverse depiction of innocents butchered in Invasion U.S.A.
    • 66 Metascore
    • 60 Critic Score
    The Journey of Natty Gann
    More a period piece of Americana than a rousing adventure, The Journey of Natty Gann is a generally diverting variation on a boy and his dog: this time it's a girl and her wolf.
    • 52 Metascore
    • 60 Critic Score
    Agnes of God
    Fonda’s relentless interrogating, mannered chain-smoking and enforced two dimensionality cause her to become tiresome very early on. She remains a brittle cliche of a modern professional woman. Bancroft gives a generally highly engaging performance as a religious woman too knowledgeable to be one-upped by even the craftiest layman.
  13. Mishima: A Life in Four Chapters
    Beautiful, yet flawed film.
    • 89 Metascore
    • 80 Critic Score
    After Hours
    The cinema of paranoia and persecution reaches an apogee in After Hours, a nightmarish black comedy from Martin Scorsese. Anxiety-ridden picture would have been pretty funny if it didn't play like a confirmation of everyone's worst fears about contemporary urban life.
    • 20 Metascore
    • 40 Critic Score
    American Ninja
    Director Sam Firstenberg stages the numerous action scenes well, but engenders little interest in the non-story.
    • 56 Metascore
    • 80 Critic Score
    Flesh+Blood
    Flesh + Blood is a vivid and muscular, if less than fully startling, account of lust, savagery, revenge, betrayal and assorted other dark doings in the Middle Ages.
    • 65 Metascore
    • 50 Critic Score
    Compromising Positions
    Falling midway between a campy send-up of suburban wives soap operas and a legitimate thriller, Compromising Positions, from the 1978 novel by Susan Isaacs, emerges as a silly little whodunnit that's a mild embarrassment to all involved.
    • 25 Metascore
    • 20 Critic Score
    Teen Wolf
    Lightweight item is innocuous and well-intentioned but terribly feeble, another example of a decent idea yielding the least imaginative results conceivable.
    • 55 Metascore
    • 50 Critic Score
    Volunteers
    Volunteers is a very broad and mostly flat comedy [from a story by Keith Critchlow] about hijinx in the Peace Corps, circa 1962. Toplined Tom Hanks gets in a few good zingers as an upperclass snob doing time in Thailand, but promising premise and opening shortly descend into unduly protracted tedium.
    • 66 Metascore
    • 60 Critic Score
    The Return of the Living Dead
    Director Dan O’Bannon deserves considerable credit for creating a terrifically funny first half-hour of exposition, something in which he is greatly aided by the goofball performance of James Karen as a medical supply know-it-all.
    • 30 Metascore
    • 50 Critic Score
    The Bride
    While there is deliberate humor at times, most of it successfully produced by a lilting dwarf character who steals the movie (David Rappaport), the intention of the filmmakers is not camp. That’s both the pic’s virtue and, at the conclusion, its downfall.
    • 50 Metascore
    • 50 Critic Score
    American Flyers
    American Flyers is most entertaining when it rolls along unencumbered by big statements. Unfortunately, overblown production just pumps hot air in too many directions and comes up limp.
    • 58 Metascore
    • 80 Critic Score
    Year of the Dragon
    Unquestionably, Cimino’s eye for detail and insistence thereon has paid off in his impressive recreation of Chinatown at producer Dino De Laurentiis’ studios in North Carolina. Crammed with an array of interesting characters, including the extras in the background, Dragon brims with authenticity.
    • 47 Metascore
    • 60 Critic Score
    Pee-wee's Big Adventure
    Children should love the film and adults will be dismayed by the light brushstrokes with which Paul Reubens (one of three credited screenwriters, but star-billed under his stage name, Pee-wee Herman) suggests touches of Buster Keaton and Eddie Cantor.
    • 71 Metascore
    • 70 Critic Score
    Real Genius
    What lifts the production above the run-of-the-mill is swift direction by Martha Coolidge, who has a firm grasp over the manic material.
    • 46 Metascore
    • 50 Critic Score
    Weird Science
    Hughes’ true gift is at capturing the naturalistic rhythms and interaction between the boys with a great ear for dialog. Le Brock is just right as the film’s calm but commanding center.
    • 25 Metascore
    • 30 Critic Score
    The Hills Have Eyes Part II
    It’s dull, formula terror pic cliches, with one attractive teenager after another picked off by the surviving cannibals.
    • 62 Metascore
    • 70 Critic Score
    Fright Night
    Director Tom Holland keeps the picture wonderfully simple and entirely believable (once the existence of vampires is accepted, of course).
    • 59 Metascore
    • 60 Critic Score
    Follow That Bird
    Simple premise has the slightly goofy yellow, eight-foot fowl Big Bird taken away from Sesame Street by the officious Miss Finch so he can grow up among his own kind, a bird family named the Dodos, in Oceanview, Ill.
    • 80 Metascore
    • 80 Critic Score
    Kiss of the Spider Woman
    Some will find him (Hurt) mesmerizing, others artificially lowkeyed.
    • 47 Metascore
    • 50 Critic Score
    National Lampoon's European Vacation
    Story [by John Hughes] of a frenetic, chaotic tour of the Old World, with Chevy Chase and Beverly D’Angelo reprising their roles as determined vacationers, is graceless and only intermittently lit up by lunacy and satire.
    • 59 Metascore
    • 40 Critic Score
    The Black Cauldron
    By any hard measure, the $25 million animated Cauldron is not very original. The characters, though cute and cuddly and sweet and mean and ugly and simply awful, don't really have much to do that would remain of interest to any but the youngest minds.
    • 60 Metascore
    • 50 Critic Score
    Day of the Dead
    Day of the Dead is an unsatisfying part three in George A. Romero's zombie saga. The acting here is generally unimpressive and in the case of Sarah's romantic partner, Miguel (Antonio DiLeo, Jr.), unintentionally risible.
    • Variety
    • 58 Metascore
    • 60 Critic Score
    The Coca-Cola Kid
    The mix of earthy symbolism, offbeat eroticism, the picaresque and the rough-and-tumble social, rather unpolitical satire now seems poured from a bottle that has been left uncapped overnight.
    • 58 Metascore
    • 70 Critic Score
    Explorers
    Throughout, director Joe Dante and writer Eric Luke load the proceedings with references to sci-fiers of an earlier day, such as War of the Worlds, This Island Earth, Journey to the Center of the Earth and many others, but this is nothing compared to what happens when the trio of youngsters finally take off into outer space and make contact with an alien race.
    • 64 Metascore
    • 80 Critic Score
    Silverado
    Rather than relying on legendary heroes of Westerns past, writer-director Lawrence Kasdan with his brother Mark have used their special talent to create a slew of human scale characters against a dramatic backdrop borrowing from all the conventions of the genre.
    • 71 Metascore
    • 80 Critic Score
    Mad Max Beyond Thunderdome
    Gibson impressively fleshes out Max, Tina Turner is striking in her role as Aunty (as well as contributing two topnotch songs, which open and close the picture) and the juves are uniformly good.
    • 88 Metascore
    • 90 Critic Score
    Back to the Future
    Performances by the earnest Fox, the lunatic Lloyd, the deceptively passionate Lea Thompson, and, particularly, the bumbling-to-confident Glover, who runs away with the picture, merrily keep the ship sailing.
    • 35 Metascore
    • 50 Critic Score
    Red Sonja
    Red Sonja [based on stories by Robert E. Howard] returns to those olden days when women were women and the menfolk stood around with funny hats on until called forth to be whacked at.
    • 61 Metascore
    • 90 Critic Score
    Pale Rider
    It’s all been seen before, but Eastwood serves it up with authority, fine craftsmanship and a frequent sense of fun. This film is graced not only by an excellent visual look and confident storytelling, but by a few fine performances, led by Eastwood’s own.
    • 35 Metascore
    • 30 Critic Score
    St. Elmo's Fire
    Beyond occasional mutterings of words like ‘love’ and ‘beer,’ there’s never any explanation in the dialog that would hint at motivation.
    • 65 Metascore
    • 80 Critic Score
    Cocoon
    A fountain of youth fable [from a novel by David Saperstein] which imaginatively melds galaxy fantasy with the lives of aging mortals in a Florida retirement home, Cocoon weaves a mesmerizing tale.
    • 50 Metascore
    • 50 Critic Score
    Lifeforce
    Pic [from the novel The Space Vampires by Colin Wilson] descends into subpar Agatha Christie territory.
    • 84 Metascore
    • 80 Critic Score
    Prizzi's Honor
    Picture is a stretch for Nicholson, who speaks in a street-tough, accented gangster-ese that initially takes some getting used to, but shortly becomes totally convincing. Turner manages to use her loveliness to jolting results.
  45. Nausicaä of the Valley of the Wind
    Miyazaki’s first hit fascinates as a glimpse into the master’s then-developing style, even when the final-act storytelling gets woozy.
    • 62 Metascore
    • 60 Critic Score
    The Goonies
    Territory is typical small town Steven Spielberg; this time set in a coastal community in Oregon. Story is told from the kids' point-of-view and takes a rather long time to be set in motion.
    • 46 Metascore
    • 40 Critic Score
    Perfect
    Set in the world of journalism, pic is guilty of the sins it condemns - superficiality, manipulation and smugness.
    • 68 Metascore
    • 80 Critic Score
    Fletch
    What propels this contempo LA yarn about a dissembling newspaper columnist on the trail of a nefarious con man (Tim Matheson) is the obvious and successful byplay between Chevy Chase’s sly, glib persona and the satiric brushstrokes of director Michael Ritchie. Their teamwork turns an otherwise hair-pinned, anecdotal plot into a breezy, peppy frolic and a tour de force for Chase.
  49. A View to a Kill
    This jokey tone couldn’t be more different from the relative self-seriousness of helmer John Glen’s first 007 directing effort, For Your Eyes Only, and frankly, I yearn for more of that class.
    • 47 Metascore
    • 50 Critic Score
    Rambo: First Blood Part II
    The charade on the screen, which is not pulled off, is to accept that the underdog Rambo character, albeit with the help of an attractive machine-gun wielding Vietnamese girl (Julia Nickson), can waste hordes of Vietcong and Red Army contingents enroute to hauling POWs to a Thai air base in a smoking Russian chopper with only a facial scar (from a branding iron-knifepoint) marring his tough figure.
    • 37 Metascore
    • 40 Critic Score
    Brewster's Millions
    It’s hard to believe a comedy starring Richard Pryor and John Candy is no funnier than this one is, but director Walter Hill has overwhelmed the intricate genius of each with constant background action, crowd confusions and other endless distractions.
    • 64 Metascore
    • 50 Critic Score
    Trancers
    Only Hunt in the femme role breaks through a script that rarely rings new.
    • 64 Metascore
    • 70 Critic Score
    Code of Silence
    Code of Silence is a predictability cacophonous cops-and-crooks yarn [by Michael Butler and Dennis Shryack] that is actually quite good for the type.
    • Variety
    • 75 Metascore
    • 50 Critic Score
    The Purple Rose of Cairo
    Tale is a light, almost frivolous treatment of a serious theme, as Woody Allen here confronts the unalterable fact that life just doesn't turn out the way it does (or did) in Hollywood films. For all its situational goofiness, pic is a tragedy, and it's too bad Allen didn't build up the characters and drama sufficiently to give some weight to his concerns.
    • 57 Metascore
    • 50 Critic Score
    Just One of the Guys
    Key male part of quiet outsider whom Hyser brings to life is essayed by another film newcomer, Clayton Rohner, but Rohner looks too old to be a high school kid.
    • 69 Metascore
    • 60 Critic Score
    The Company of Wolves
    Admirably attempting an adult approach to traditional fairy tale material, The Company of Wolves nevertheless represents an uneasy marriage between old-fashioned storytelling and contemporary screen explicitness.
    • 70 Metascore
    • 50 Critic Score
    Cat's Eye
    The three stories just don’t connect and efforts to join them never work. However, an excellent roster of talent does try its best.
    • 71 Metascore
    • 60 Critic Score
    Desperately Seeking Susan
    Rosanna Arquette does more than her share in the pivotal part of a bored Yuppie housewife who follows the personal ads, wondering about the identities behind a desperately seeking Susan item that runs from time to time.
    • 64 Metascore
    • 80 Critic Score
    Ladyhawke
    LadyHawke is a very likeable, very well-made fairytale that insists on a wish for its lovers to live happily ever after.
    • 39 Metascore
    • 50 Critic Score
    Police Academy 2: Their First Assignment
    Follow-up features much of the original’s cast but none of its key behind-the-scenes creative talent, save producer Paul Maslansky. Only actor to get any mileage out of this one is series newcomer Art Metrano, as an ambitious lieutenant bent upon taking over the department.
    • 67 Metascore
    • 60 Critic Score
    1984
    In this unremitting downer, writer-director Michael Radford introduces no touches of comedy or facile sensationalism to soften a harsh depiction of life under a totalitarian system as imagined by George Orwell in 1948.
    • 73 Metascore
    • 80 Critic Score
    Mask
    Based on a true story, Mask is alive with the rhythms and textures of a unique life. Both in the background and foreground, Mask draws a vivid picture of life among a particular type of lower middle class Southern California whites. Much of the credit for keeping the film from tripping over must go to the cast, especially Stoltz, who, with only his eyes visible behind an elaborate makeup job, brings a lively, life-affirming personality to his role without a trace of self-pity.
    • 75 Metascore
    • 90 Critic Score
    The Hit
    Frears and writer Peter Prince have taken a potentially familiar tale of a gangland betrayal and revenge and made something richly inventive and most entertaining.
    • 76 Metascore
    • 90 Critic Score
    The Sure Thing
    The Sure Thing is at heart a sweetly old-fashioned look at the last lap of the coming-of-age ordeal in which the sure thing becomes less important than the real thing. Realization may not be earth shattering, but in an era of fast food and faster sex, return to the traditional is downright refreshing.
    • 41 Metascore
    • 50 Critic Score
    Into the Night
    The film itself tries sometimes too hard for laughs and at other times strains for shock. Goldblum is nonetheless enjoyable as he constantly tries to figure out just what he’s doing in all of this.
    • 66 Metascore
    • 30 Critic Score
    The Breakfast Club
    Does director John Hughes really believe, as he writes here, that 'when you grow up, your heart dies.' It may. But not unless the brain has already started to rot with films like this.
    • 78 Metascore
    • 60 Critic Score
    Lost in America
    Brooks, who directed and cowrote with Monica Johnson, is irrepressible but always very human.
    • 23 Metascore
    • 90 Critic Score
    Turk 182
    Besides its compelling storyline, Turk 182! features outstanding performances across the board, with Hutton perfect in the role of the determined unassuming hero.
    • 55 Metascore
    • 80 Critic Score
    The Mean Season
    Jordan is at his shrewdly crazed best, anchoring the movie with a felt terror, initially just through his off-screen voice as he manipulates the reporter over the phone and ultimately through his cunning.
    • 76 Metascore
    • 60 Critic Score
    Witness
    Witness is at times a gentle, affecting story of star-crossed lovers limited within the fascinating Amish community. Too often, however, this fragile romance is crushed by a thoroughly absurd shoot-em-up, like ketchup poured over a delicate Pennsylvania Dutch dinner.
    • 68 Metascore
    • 70 Critic Score
    The Falcon and the Snowman
    All the way through The Falcon and the Snowman director John Schlesinger and an exemplary cast grapple with a true story so oddly motivated it would be easily dismissed if fictional. Timothy Hutton and Sean Penn are superb.
    • 64 Metascore
    • 70 Critic Score
    Heaven Help Us
    Very funny in spots and wonderfully evocative of Brooklyn, circa 1965, pic suffers somewhat by dividing its attention between outrageous pranks and realistic sketches of the Catholic school experience.
    • 76 Metascore
    • 70 Critic Score
    The Killing Fields
    A story of perseverance and survival in hell on earth, The Killing Fields represents an admirable, if not entirely successful, attempt to bring alive to the world film audience the horror story that is the recent history of Cambodia.
    • 78 Metascore
    • 90 Critic Score
    A Passage to India
    An impeccably faithful, beautifully played and occasionally languorous adaptation of E.M. Forster's classic novel about the clash of East and West in colonial India.
    • 50 Metascore
    • 70 Critic Score
    Fandango
    Fandango emerges as a quite promising feature debut by writer-director Kevin Reynolds, with its feet squarely within the overused boys-coming-of-age genre but its heart betraying an appealingly anarchic, iconoclastic bent.
    • 84 Metascore
    • 100 Critic Score
    Blood Simple
    An inordinately good low-budget film noir thriller...Performances are top-notch all around, Walsh in particular conveying the villainy and scummy aspects of his character with convincing glee.
    • 37 Metascore
    • 50 Critic Score
    Tuff Turf
    This modestly budgeted youth pic is a poor man's and partially musicalized Rebel without a Cause with a touch of The Warriors thrown in.
    • 46 Metascore
    • 60 Critic Score
    The River
    Stripped down to the bare essentials few people actually ever come into contact with, pic remains a rather private ordeal observed from the outside looking in. There is a victory at the end, but not a sense of lasting triumph.
    • 54 Metascore
    • 50 Critic Score
    Johnny Dangerously
    Stapleton is also well-cast in her cliched role, as are Peter Boyle as the good mobster Dundee and Joe Piscopo as the bad Vermin. Deliberately overworking the Cagney mannerisms, Michael Keaton is initially good, too, in the title role, as is Griffin Dunne as Johnny’s D.A. brother. Unfortunately, the material given all of them just gets worse and worse.
    • 55 Metascore
    • 70 Critic Score
    Breakin' 2: Electric Boogaloo
    As a phenomenon, the hip-hop, breakdancing, sidewalk graffiti and rap music culture lends itself well to a comic book approach and to his credit director Sam Firstenberg doesn’t try to interject too much reality into the picture.
    • 67 Metascore
    • 70 Critic Score
    The Flamingo Kid
    Dillon does a good job in his fullest, least narcissistic characterization to date.
    • 71 Metascore
    • 50 Critic Score
    Birdy
    Belying the lightheartedness of its title, Birdy is a heavy adult drama about best friends and the after-effects of war, but it takes too long to live up to its ambitious premise.
    • 64 Metascore
    • 80 Critic Score
    Micki + Maude
    Micki + Maude is a hilarious farce. For his part, Dudley Moore is in top antic form, and Amy Irving has never been better.
    • 70 Metascore
    • 70 Critic Score
    Starman
    There is little that is original in Starman, but at least it has chosen good models.
    • 50 Metascore
    • 40 Critic Score
    Runaway
    This Michael Crichton robotic nightmare is so trite that the story seems lifted from Marvel Comics, with heat-seeking bullets and a villain so bad he would be fun if the film wasn’t telling us to take this near-futuristic adventure with a straight face.
    • 68 Metascore
    • 70 Critic Score
    The Cotton Club
    Dramatically, Coppola and co-screenwriter William Kennedy, juggle a lot of balls in the air. The parallel stories of Gere and Hines’ professional rise prove more potent, thanks largely to a mixture of romance, music and gangland involvement. Hines and McKee generate real sparks in their relationship and latter adds an interesting dimension as a light-skinned singer trying to hide her racial origins.
    • 41 Metascore
    • 60 Critic Score
    Dune
    Dune is a huge, hollow, imaginative and cold sci-fi epic. Visually unique and teeming with incident, David Lynch's film holds the interest due to its abundant surface attractions but won't, of its own accord, create the sort of fanaticism which has made Frank Herbert's 1965 novel one of the all-time favorites in its genre.
    • 53 Metascore
    • 50 Critic Score
    2010
    In Peter Hyams’ hands [working from a novel by Arthur C. Clarke], the HAL mystery is the most satisfying substance of the film and handled the best. Unfortunately, it lies amid a hodge-podge of bits and pieces.
    • 39 Metascore
    • 60 Critic Score
    City Heat
    City Heat is an amiable but decidedly lukewarm confection geared entirely around the two star turns.
    • 66 Metascore
    • 50 Critic Score
    Beverly Hills Cop
    Beverly Hills Cop is more cop show than comedy riot. Expectations that Eddie Murphy's street brand of rebelliousness would devastate staid and glittery Beverly Hills are not entirely met in a film that grows increasingly dramatic.
    • Variety
    • 41 Metascore
    • 60 Critic Score
    Supergirl
    Helen Slater is a find: blonde as Supergirl, dark-haired as Linda Lee, she’s an appealing young heroine in either guise. Screenplay is filled with witty lines and enjoyable characters, but Jeannot Szwarc’s direction is rather flat.
    • 76 Metascore
    • 80 Critic Score
    A Nightmare on Elm Street
    A Nightmare on Elm Street is a highly imaginative horror film that provides the requisite shocks to keep fans of the genre happy.
    • 59 Metascore
    • 70 Critic Score
    Night of the Comet
    Night of the Comet is a successful pastiche of numerous science fiction films, executed with an entertaining, tongue-in-cheek flair that compensates for its absence in originality.
    • 43 Metascore
    • 50 Critic Score
    Missing in Action
    Writer James Bruner and director Joseph Zito have marshalled a formula pic with a particularly jingoistic slant: even though the war is long over, the Commies in Vietnam still deserve the smack of a bullet.
    • 49 Metascore
    • 60 Critic Score
    Oh, God! You Devil
    The story didn’t need to get this involved and it winds up constantly trying to pull the picture apart, working against the comedy.
    • 51 Metascore
    • 60 Critic Score
    No Small Affair
    No Small Affair is an okay coming-of-age romance [from a screen story by Charles Bolt] in which the believability of the leading characters far outweighs that of many of the situations in which the script places them.
    • 81 Metascore
    • 90 Critic Score
    Paris, Texas
    It’s indeed a beautiful film, one that will surely convince doubters that Muller is one of the cinema’s best cameramen. He gives the story a surface polish that hints of Edward Hopper and Georgia O’Keefe Americana paintings. Some images are positively breathtaking.
    • 66 Metascore
    • 80 Critic Score
    A Soldier's Story
    A Soldier's Story is a taut, gripping film which features many of the old fashioned virtues of a good Hollywood production - brilliant ensemble acting, excellent production values, a crackling script (adapted from the Pulitzer Prize winning A Soldier's Play [1981] by its author, Charles Fuller), fine direction and a liberal political message.
    • 84 Metascore
    • 100 Critic Score
    The Terminator
    A blazing, cinematic comic book, full of virtuoso moviemaking, terrific momentum, solid performances and a compelling story.
    • 69 Metascore
    • 50 Critic Score
    Body Double
    Brian De Palma lets all his obsessions hang out in Body Double. A voyeur’s delight and a feminist’s nightmare, sexpenser features an outrageously far-fetched and flimsy plot.
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