Variety's Scores

Select another publication »
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
view
per page
    • 27 Metascore
    • 30 Critic Score
    Jaws 3-D
    The Jaws cycle has reached its nadir with this surprisingly tepid [Arrivision] 3-D version.
    • 33 Metascore
    • 50 Critic Score
    Class
    McCarthy and Rob Lowe (as his roommate) carry most of the picture, and both acquit themselves reasonably well under the circumstances.
    • 24 Metascore
    • 20 Critic Score
    Staying Alive
    The bottom line is that Staying Alive is nowhere as good as its 1977 predecessor, "Saturday Night Fever."
    • 38 Metascore
    • 50 Critic Score
    Porky's II: The Next Day
    Everyone who saw it remembers ‘that scene’ from the original. Here, some of the boys get back at Balbricker by sending a snake up into her toilet.
    • 44 Metascore
    • 40 Critic Score
    Superman III
    Superman III emerges as a surprisingly soft-cored disappointment. Putting its emphasis on broad comedy at the expense of ingenious plotting and technical wizardry, it has virtually none of the mythic or cosmic sensibility that marked its predecessors.
    • Variety
    • 63 Metascore
    • 80 Critic Score
    Octopussy
    Film’s high points are the spectaccular aerial stuntwork marking both the pre-credits teaser and extremely dangerous-looking climax.
    • 69 Metascore
    • 80 Critic Score
    Trading Places
    Trading Places is a light romp geared up by the schtick shifted by Dan Aykroyd and Eddie Murphy.
    • 61 Metascore
    • 70 Critic Score
    The Man with Two Brains
    The Man with Two Brains is a fitfully amusing return by Steve Martin to the broad brand of lunacy that made his first feature, "The Jerk" [1979], so successful.
    • 77 Metascore
    • 80 Critic Score
    WarGames
    Although the script has more than its share of short circuits, director John Badham solders the pieces into a terrifically exciting story charged by an irresistible idea: an extra-smart kid can get the world into a whole lot of trouble that it also takes the same extra-smart kid to rescue it from.
    • 54 Metascore
    • 80 Critic Score
    Psycho II
    Psycho II is an impressive, 23-years-after followup to Alfred Hitchcock's 1960 suspense classic. Director Richard Franklin deftly keeps the suspense and tension on high while dolling out dozens of shock-of-recognitions shots drawn from the audience’s familiarity with Psycho.
    • 30 Metascore
    • 50 Critic Score
    Chained Heat
    A silly, almost campy follow-up to producer Billy Fine's women's prison hit, The Concrete Jungle, that manages to pack in enough sex tease and violent action to satisfy undiscriminating action fans.
    • 58 Metascore
    • 40 Critic Score
    Star Wars: Episode VI - Return of the Jedi
    Hamill is not enough of a dramatic actor to carry the plot load here, especially when his partner in so many scenes is really little more than an oversized gas pump, even if splendidly voiced by James Earl Jones.
    • 66 Metascore
    • 70 Critic Score
    Blue Thunder
    Blue Thunder is a ripsnorting live-action cartoon, utterly implausible but no less enjoyable for that.
    • 52 Metascore
    • 70 Critic Score
    Breathless
    A suitably jazzy, sexy, entertainment.
    • 66 Metascore
    • 70 Critic Score
    Valley Girl
    Valley is very good simply because director Martha Coolidge obviously cares about her two lead characters and is privileged to have a couple of fine young performers, Nicolas Cage and Deborah Foreman, to make the audience care.
    • 52 Metascore
    • 70 Critic Score
    The Hunger
    The Hunger [from the novel by Whitley Strieber] is all visual and aural flash, although this modern vampire story looks so great, as do its three principal performers, and is so bizarre that it possesses a certain perverse appeal.
    • 68 Metascore
    • 50 Critic Score
    Something Wicked This Way Comes
    Film version of Ray Bradbury's popular novel Something Wicked This Way Comes must be chalked up as something of a disappointment. Possibilities for a dark, child's view fantasy set in rural America of yore are visible throughout the $20 million production but various elements have not entirely congealed into a unified achievement.
    • 72 Metascore
    • 60 Critic Score
    Koyaanisqatsi
    Koyaanisqatsi is at first awe-inspiring with its sweeping aerial wilderness photography. It becomes depressing when the phone lines, factories, and nuke plants spring up. The pic then runs the risk of boring audiences with shot after glossy shot of man’s commercial hack job on the land and his resulting misery.
    • 71 Metascore
    • 80 Critic Score
    The Evil Dead
    While injecting considerable black humor, neophyte Detroit-based writer-director Sam Raimi maintains suspense and a nightmarish mood in between the showy outbursts of special effects gore and graphic violence which are staples of modern horror pictures.
    • 39 Metascore
    • 40 Critic Score
    Flashdance
    Watching Flashdance is pretty much like looking at MTV for 96 minutes. Virtually plotless, exceedingly thin on characterization and sociologically laughable, pic at least lives up to its title by offering an anthology of extraordinarily flashy dance numbers.
    • 65 Metascore
    • 70 Critic Score
    Lone Wolf McQuade
    Fans of Soldier of Fortune magazine will think they've been ambushed and blown away to heaven by Lone Wolf McQuade. Every conceivable type of portable weapon on the world market is tried out by the macho warriors on both sides of the law in this modern western.
    • 66 Metascore
    • 60 Critic Score
    Liquid Sky
    Liquid Sky is an odd, yet generally pleasing mixture of punk rock, science fiction, and black humor.
    • 51 Metascore
    • 60 Critic Score
    Losin' It
    Director Curtis Hanson makes a commendable effort with a rather obvious story about three teenage boys who head for a wild weekend in Tijuana, hoping to trade hard cash for manly experience.
    • 34 Metascore
    • 40 Critic Score
    Screwballs
    A poor man's "Porky's". This compendium of horny high school jokes set in 1965 is full of youthful exuberance and proves utterly painless to watch, but it is so close in premise and tone to its model that negative comparisons can't help but be drawn.
    • 74 Metascore
    • 80 Critic Score
    Heart Like a Wheel
    Heart Like A Wheel is a surprisingly fine biopic of Shirley Muldowney, the first professional female race car driver. What could have been a routine good ol' gal success story has been heightened into an emotionally involving, superbly made drama.
    • 72 Metascore
    • 70 Critic Score
    The Meaning of Life
    Gross, silly, caustic, tasteless and obnoxious are all adjectives that alternately apply to Monty Python's The Meaning of Life though probably the most appropriate description would simply be funny.
    • 45 Metascore
    • 60 Critic Score
    The Outsiders
    Francis Coppola has made a well acted and crafted but highly conventional film out of S.E. Hinton's popular youth novel, The Outsiders.
    • 34 Metascore
    • 10 Critic Score
    The Black Stallion Returns
    The Black Stallion Returns is little more than a contrived, cornball story that most audiences will find to be an interminable bore.
    • 53 Metascore
    • 80 Critic Score
    Bad Boys
    Bad Boys is a troubling and often riveting drama about juvenile delinquency. Director Rick Rosenthal does a topnotch job of bringing to life the seedy, hopeless environment of a jail for juvenile offenders and has gotten some terribly convincing performances from his young cast, notably topliner Sean Penn.
    • 42 Metascore
    • 60 Critic Score
    High Road to China
    High Road to China is a lot of old-fashioned fun, revived for Tom Selleck after his TV schedule kept him from taking the Harrison Ford role in Raiders of the Lost Ark. Ford clearly got the better deal because China just isn't as tense and exciting.
    • 12 Metascore
    • 70 Critic Score
    10 to Midnight
    William Roberts’ screenplay, while it sags in the middle, is damnably clever at dropping in its vicious vigilante theme without being didactic, and J. Lee Thompson’s direction, borrowing from Hitchcock’s editing in Psycho, creates the full horror of blades thrusting into naked bellies without the viewer ever actually seeing it happen.
    • 79 Metascore
    • 100 Critic Score
    Gandhi
    Once in a long while a motion picture so eloquently expressive and technically exquisite comes along that one is tempted to hail it as being near perfect. Such a film is Gandhi.
    • 73 Metascore
    • 50 Critic Score
    The King of Comedy
    The King of Comedy is a royal disappointment. To be sure, Robert De Niro turns in another virtuoso performance for Martin Scorsese, just as in their four previous efforts. But once again – and even more so – they come up with a character that it’s hard to spend time with. Even worse, the characters – in fact, all the characters – stand for nothing.
    • 66 Metascore
    • 80 Critic Score
    The Pirates of Penzance
    With the exception of Angela Lansbury, entertaining as the pirates’ nursemaid and aide-de-combat, all principal cast members have repeated their Broadway performances here, and in exemplary fashion.
  35. Local Hero
    While modest in intent and gentle in feel, Local Hero is loaded with wry, offbeat humor and is the sort of satisfying, personal picture that is becoming an increasingly rare commodity these days.
    • 58 Metascore
    • 80 Critic Score
    Videodrome
    Film is dotted with video jargon and ideology which proves more fascinating than distancing. And Cronenberg amplifies the freaky situation with a series of stunning visual effects. (Review of Original Release)
    • 65 Metascore
    • 80 Critic Score
    The Year of Living Dangerously
    Here is an astonishing feat of acting by New Yorker Linda Hunt, cast by Weir because he could not locate a short male actor to fit the bill. A bizarre, yet touching, romantic triangle develops between Gibson, Hunt, and Sigourney Weaver as a British Embassy official.
  38. Tootsie
    Remarkably funny and entirely convincing, film pulls off the rare accomplishment of being an in-drag comedy which also emerges with three-dimensional characters.
    • 48 Metascore
    • 60 Critic Score
    Frances
    Rare to the memory is a film like Frances which runs 140 minutes and its star is on the screen 85% of the time in one intense scene after another. It’s quite an accomplishment for Jessica Lange and it’s too bad a better film didn’t come of it.
    • 43 Metascore
    • 30 Critic Score
    Trail of the Pink Panther
    A patchwork of out-takes, reprised clips and new connective footage, Trail of the Pink Panther is a thin, peculiar picture unsupported by the number of laughs one is accustomed to in this series. Stitched together after Peter Sellers' death, this is by a long way the slightest of the six Inspector Clouseau efforts.
    • 66 Metascore
    • 80 Critic Score
    The Dark Crystal
    The Dark Crystal, besides being a dazzling technological and artistic achievement by a band of talented artists and performers, presents a dark side of Muppet creators Jim Henson and Frank Oz that could teach a lesson in morality to youngsters at the same time it is entertaining their parents.
    • 77 Metascore
    • 70 Critic Score
    The Verdict
    There are many fine performances and sensitive moral issues contained in The Verdict but somehow that isn't enough to make it the compelling film it should be. David Mamet's script [from a novel by Barry Reed] offers little out of the ordinary.
    • 70 Metascore
    • 70 Critic Score
    Best Friends
    Best Friends is probably not the light romantic comedy audiences expect from a Burt Reynolds-Goldie Hawn screen pairing but is nevertheless a very engaging film.
    • 50 Metascore
    • 50 Critic Score
    Honkytonk Man
    Honkytonk Man is one of those well-intentioned efforts that doesn't quite work. It seems that Clint Eastwood took great pains in telling this story of an aging, struggling country singer but he is done in by the predictability of the script [from Clancy Carlile's own novel] and his own limitations as a warbler.
    • 48 Metascore
    • 40 Critic Score
    Airplane II: The Sequel
    It can’t be said that Airplane II is no better or worse than its predecessor. It is far worse, but might seem funnier had there been no original.
    • 71 Metascore
    • 70 Critic Score
    48 Hrs.
    48Hrs. is a very efficient action entertainment which serves as a showy motion picture debut for Eddie Murphy.
    • 68 Metascore
    • 60 Critic Score
    Sophie's Choice
    Sophie's Choice is a handsome, doggedly faithful and astoundingly tedious adaptation of William Styron's best-seller.
    • 70 Metascore
    • 70 Critic Score
    The Last Unicorn
    The Last Unicorn represents a rare example of an animated kids' pic in which the script and vocal performances outshine the visuals.
    • 43 Metascore
    • 60 Critic Score
    Still of the Night
    It comes as almost a shock to see a modern suspense picture that's as literate, well acted and beautifully made as Still Of The Night. Despite its many virtues, however, Robert Benton's film [from a story by him and David Newman] has its share of serious flaws, mainly in the area of plotting.
    • 51 Metascore
    • 70 Critic Score
    The Slumber Party Massacre
    Out of traditional horror material consisting of red herrings, sudden shock movements into frame, etc, helmer Amy Jones develops some very stylish sequences.
    • 59 Metascore
    • 80 Critic Score
    Creepshow
    George Romero, collaborating with writer Stephen King, again proves his adeptness at combining thrills with tongue-in-cheek humor.
    • 46 Metascore
    • 30 Critic Score
    Five Days One Summer
    An attempt at an intimate personal drama that just doesn't come off, Five Days One Summer is so slow that it seems more like Five Summers One Day.
    • 15 Metascore
    • 20 Critic Score
    Piranha Part Two: The Spawning
    This is a routine monster film, unrelated to Joe Dante’s 1978 Piranha. Idiotic premise has US government genetic engineering experiments creating a deadly form of grunions (hinted at being used in the Vietnam war).
    • 63 Metascore
    • 80 Critic Score
    The Man from Snowy River
    A rattling good adventure story, inspired by a legendary poem [by A.B. 'Banjo' Paterson] which nearly every Australian had drummed into him as a child, filmed in spectacularly rugged terrain in the Great Dividing Ranges in Victoria.
    • 61 Metascore
    • 40 Critic Score
    First Blood
    Director Ted Kotcheff has all sorts of trouble with this mess, aside from credibility. Supposedly, the real villain here is society itself, which invented a debacle like Vietnam and must now deal with its lingering tragedies. But First Blood cops out completely on that one, not even trying to find a solution to Stallone's problems.
    • 50 Metascore
    • 30 Critic Score
    Halloween III: Season of the Witch
    There’s not much to say about Halloween III that hasn’t already been said about either of the other two Halloween pics or a slew of imitators.
    • 44 Metascore
    • 50 Critic Score
    Lookin' to Get Out
    Hal Ashby's Lookin' to Get Out is an ill-conceived vehicle for actor (and co-writer) Jon Voight to showcase his character comedy talents in a loose, semi-improvised environment.
    • 62 Metascore
    • 80 Critic Score
    My Favorite Year
    An enjoyable romp through the early days of television, My Favorite Year [from a story by Dennis Palumbo] provides a field day for a wonderful bunch of actors headed by Peter O'Toole in another rambunctious, stylish starring turn.
    • 34 Metascore
    • 30 Critic Score
    Amityville II: The Possession
    There are actually two films meandering in this mess – one a second-rate horror flick about a family in peril, and another that is a slight variation on the demon-possessed Exorcist theme.
    • 61 Metascore
    • 50 Critic Score
    Hammett
    Over polished by too many script rewrites, perhaps emasculated by massive footage scraps and belated re-shoots, project emerges a rather suffocating film taking place in a rickety Chinatown.
    • Variety
    • 18 Metascore
    • 20 Critic Score
    The Beastmaster
    When The Beastmaster begins, it is very hard to tell what it is all about. An hour later, it is very hard to care what it is all about. Another hour later, it is very hard to remember what it was all about.
    • 49 Metascore
    • 60 Critic Score
    Class of 1984
    Class of 1984 is pure exploitation with plenty of action and a manipulative plot [from a story by Tom Holland] designed to have audiences cheering on the blood.
    • 61 Metascore
    • 60 Critic Score
    Fast Times at Ridgemont High
    The nice thing is that Crowe and director Amy Heckerling have provided something pleasant to observe in all of these characters though they really are sadly lacking in anything gripping.
    • 30 Metascore
    • 10 Critic Score
    Friday the 13th Part III
    Friday the 13th Part III is terrible, too...There are some dandy 3-D sequences, however, of a yo-yo going up and down and popcorn popping.
    • 47 Metascore
    • 80 Critic Score
    Pink Floyd: The Wall
    An eye-popping dramatization of an audio storyline. Being a visual translation of a so-called 'concept' album, pic works extremely well in carrying over the somber tone of the LP.
    • 78 Metascore
    • 50 Critic Score
    Tex
    What Tex will probably best be remembered for is breaking new ground at Disney Studios in representing some of the real problems confronting today’s young people. The teenagers are put in the milieu of drugs, alcohol, sex and violence. Family life is not necessarily rosy and well-scrubbed. Where the picture ironically goes awry is in trying to tackle all of these problems in the space of 103 minutes.
    • 63 Metascore
    • 80 Critic Score
    Night Shift
    Though the plotline hardly sounds like a family film, this is probably the most sanitized treatment of pimps and prostitution audiences will ever see. None of this much matters, because director Ron Howard and screenwriters Lowell Ganz and Babaloo Mandel, all TV veterans, are only bent on giving the audience a good time.
    • Variety
    • 75 Metascore
    • 90 Critic Score
    An Officer and a Gentleman
    An Officer and a Gentleman deserves a 21-gun salute, maybe 42. Rarely does a film come along with so many finely-drawn characters to care about.
    • 63 Metascore
    • 90 Critic Score
    The World According to Garp
    George Roy Hill’s film adaptation of [John Irving’s novel] The World According to Garp has taste, intelligence, craft and numerous other virtues going for it.
    • 40 Metascore
    • 70 Critic Score
    The Best Little Whorehouse in Texas
    The Best Little Whorehouse in Texas is just about everything it's meant to be - a couple of diverting hours in the dark. Rollicking, good-natured, a bit spicy and with just enough heart to avoid seeming totally synthetic.
    • 51 Metascore
    • 70 Critic Score
    A Midsummer Night's Sex Comedy
    Woody Allen’s A Midsummer Night’s Sex Comedy is a pleasant disappointment, pleasant because he gets all the laughs he goes for in a visually charming, sweetly paced picture, a disappointment because he doesn’t go for more.
    • 76 Metascore
    • 90 Critic Score
    The Secret of NIMH
    The Secret of NIMH is a richly animated and skillfully structured film created by former Disney animators Don Bluth, Gary Goldman and John Pomeroy. As craft, their first feature film is certainly an homage to the best of an age ago.
    • 58 Metascore
    • 50 Critic Score
    TRON
    Tron is loaded with visual delights but falls way short of the mark in story and viewer involvement. Steven Lisberger has adequately marshalled a huge force of technicians to deliver the dazzle, but even kids (and specifically computer game freaks) will have a difficult time getting hooked on the situations.
    • Variety
    • 57 Metascore
    • 40 Critic Score
    The Thing
    If it’s the most vividly gruesome monster ever to stalk the screen that audiences crave, then The Thing is the thing. On all other levels, however, John Carpenter’s remake of Howard Hawks’ 1951 sci-fi classic comes as a letdown.
    • 39 Metascore
    • 40 Critic Score
    Annie
    In an effort to be more 'realistic' Annie winds up exposing just how weak a story it had to start with [stage play book by Thomas Meehan], not helped here by the music [songs by Charles Strouse and Martin Charnin].
    • 44 Metascore
    • 20 Critic Score
    Firefox
    Firefox is a burn-out. Despite the tense mission being depicted, there’s no suspense, excitement or thrills to be had, and lackadaisical pacing gives viewer plenty of time to ponder the gaping implausibilities.
  77. E.T. The Extra-Terrestrial
    There are some unsatisfactory elements–slow spots occur during the middle stretch, the mild anti-establishment stance is getting to be a bit cliche and one never knows whether E.T.’s mortal illness is physical or psychological in nature, or both. But, as with “Close Encounters,” the truly lovely and moving ending more than makes up for everything. Chalk up another smash for Spielberg.
    • 52 Metascore
    • 70 Critic Score
    Grease 2
    Where this film has a decided edge on its predecessor is in the staging and cutting of the musical sequences. Choreographer and director Patricia Birch has come up with some unusual settings (a bowling alley, a bomb shelter) for some of the scenes, and employs some sharp montage to give most of the songs and dances a fair amount of punch.
    • 68 Metascore
    • 80 Critic Score
    Star Trek II: The Wrath of Khan
    Star Trek II is a very satisfying space adventure, closer in spirit and format to the popular TV series than to its big-budget predecessor.
    • Variety
    • 79 Metascore
    • 50 Critic Score
    Poltergeist
    Given the talents, Poltergeist is an annoying film because it could have been so much better.
    • 57 Metascore
    • 60 Critic Score
    Rocky III
    The real question with Rocky III was how Sylvester Stallone could twist the plot to make an interesting difference. He manages. As usual, Stallone the writer-director is less successful in handling all the dramatic interims than staging the battles.
    • 58 Metascore
    • 50 Critic Score
    The Escape Artist
    Treatment frequently pushes past the careful to the precious, and the quiet, odd tale never becomes more than mildly intriguing.
    • 77 Metascore
    • 90 Critic Score
    The Road Warrior
    Director Miller keeps the pic moving with cyclonic force, photography by Dean Semler is first class, editing is supertight, and Brian May’s music is stirring.
    • 67 Metascore
    • 70 Critic Score
    Dead Men Don't Wear Plaid
    Film is most engaging in its romantic sparring between Martin and his gorgeous client, Ward.
    • 43 Metascore
    • 40 Critic Score
    Conan the Barbarian
    Director John Milius does a nice job of setting up the initial story.... But for whatever reasons, [Schwarzenegger] has a minimum of dialog and fails to convey much about the character through his actions.
    • 50 Metascore
    • 60 Critic Score
    Wrong Is Right
    Wrong Is Right represents Richard Brooks' shriek of protest at what he sees as the insane, downward spiral of world history over the past decade. Part political satire, part doomsday melodrama and part intellectual graffiti scribbled on the screen, film is impossible to pigeon-hole.
    • 39 Metascore
    • 50 Critic Score
    The Sword and the Sorcerer
    Combine beaucoup gore and an atrocity-a-minute action edited in fastpace style. Then, toss in a scantily clad cast of none-too- talented performers mouthing dimwitted dialog and garnish with a touch of medieval gibberish. The result would be something resembling The Sword and the Sorcerer.
    • 66 Metascore
    • 80 Critic Score
    The Chosen
    Director Kagan and writer Gordon do wonders with the poignant material. Despite the obvious ethnic slant this is a picture which communicates universally.
    • 88 Metascore
    • 90 Critic Score
    Diva
    Diva is an extraordinary thriller and first film from Jean-Jacques Beineix, complex, stylish and fast-moving.
    • 78 Metascore
    • 90 Critic Score
    Chariots of Fire
    The casting is pin point. Charleson and Cross, neither meaningful to film fans up to now, come over as plausible types rather than stereotypes. John Gielgud and Lindsay Anderson contribute sharply as university officials dismayed by the upstart young Jew. Nigel Davenport is very good as the Olympic squad’s titular leader, and Patrick Magee is excellent in a brief turn as a blimpish peer of the realm.
    • 61 Metascore
    • 80 Critic Score
    Cat People
    Paul Schrader’s reworking of the 1942 Val Lewton-Jacques Tourneur Cat People is a super-chic erotic horror story of mixed impact. Kinski was essential to the film as conceived, and she’s endlessly watchable.
    • 68 Metascore
    • 70 Critic Score
    Some Kind of Hero
    Some Kind of Hero is yet another example of how Richard Pryor can take a mediocre film and elevate it to the level of his extraordinary talents.
    • 31 Metascore
    • 20 Critic Score
    Silent Rage
    Silent Rage seems as if it were made with a demographics sampler entitled ’10 Sleazy Ways to Cash in on the Exploitation Market’. The result is a combination horror-kung fu-oater-woman in peril-mad scientist film with more unintentional laughs than possible in the space of 100 minutes.
    • 77 Metascore
    • 50 Critic Score
    Basket Case
    Basket Case is an ultra-cheap monster film created by neophyte filmmaker Frank Henenlotter with a tongue-in-cheek approach.
    • 82 Metascore
    • 80 Critic Score
    The Long Good Friday
    In many respects a conventional thriller set in London's underworld, The Long Good Friday is much more densely plotted and intelligently scripted than most such yarns.
    • 69 Metascore
    • 70 Critic Score
    Eating Raoul
    The appeal of Paul Bartel’s tongue-in-cheek approach is that he manages to take his story to such a ridiculous extreme, remain genuinely funny and successfully tell his perverse story.
    • 40 Metascore
    • 50 Critic Score
    Porky's
    If, by chance, Porky's should prove to be Melvin Simon's swan song in the film industry, it will either be perceived as a thunderously rude exit or a titanic raspberry uttered to audiences everywhere.
    • 54 Metascore
    • 40 Critic Score
    Deathtrap
    Despite its intermittently amusing dialog, however, Deathtrap comes across as a minor entertainment, cleverness of which cannot conceal its essential artificiality when blown up on the big screen.
    • 84 Metascore
    • 90 Critic Score
    Victor Victoria
    A sparkling, ultra-sophisticated entertainment from Blake Edwards.
    • 78 Metascore
    • 80 Critic Score
    Missing
    Lemmon is superior as a man facing up to issues he never wanted to confront personally. Edgy and belligerent most of the time, Spacek is more constrained but she's fully believable.
Page:

Top Trailers

See all »
See all trailers »