Variety's Scores

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For 17,777 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 2.4 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: 9,133 out of 17777
  2. Mixed: 7,008 out of 17777
  3. Negative: 1,636 out of 17777
17777 movie reviews
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  1. Mektoub, My Love: Intermezzo
    Vacuous, almost spitefully monotonous ... A dismaying creative dead end from an abundantly gifted filmmaker, the new film escalates its predecessor’s cheeky protest to a form of acute auteur trolling.
    • 28 Metascore
    • 10 Critic Score
    Surf Nazis Must Die
    A sort of Clockwork Orange meets Mad Max on the beach, pic hasn't one redeeming feature.
  3. Countdown
    Bombastically dumb new chiller that probably would have been called "Killer App" if that title hadn't already been used several times.
  4. The Courier
    Stridently dumb action thriller.
  5. Reality Queen!
    It’s very hard to satirize things that are already inherently ridiculous, and mockumentary Reality Queen! has the misfortune of being even more vacuous — not to mention less funny — than the empty-calorie celebrities it parodies.
  6. Artemis Fowl
    What a waste. Screenwriters Conor McPherson and Hamish McColl have taken a not-very-good book and turned it into a downright awful movie.
  7. 365 Days
    A thoroughly terrible, politically objectionable, occasionally hilarious Polish humpathon currently gasping and writhing its way up the Netflix charts.
  8. The Tax Collector
    Bloody, barely coherent and about as fun as having your face dragged across asphalt from a moving SUV.
  9. Run Hide Fight
    Merely pedestrian at the levels of direction, craft and performance, the film instead makes a grab for attention by peddling an ambiguous line on gun control and eye-for-an-eye morality. Any controversy that ensues, however, won’t disguise the phoniness of this exploitation exercise, which milks the worst fears of millions in pursuit of empty tension.
  10. Mortal
    What surprises Mortal holds largely relate to the oddity of its construction and its tonal whiplash, as a thin, repetitive narrative skips from emo “Twilight” moping to dour Scandi-noir procedural to dollar-store Marvel ripoff.
    • 35 Metascore
    • 10 Critic Score
    Super Mario Bros.
    There are plenty of gags, but not one laugh in the whole farrago...There’s nothing original about “Mario,” and the absence of tension or an interesting narrative makes it tedious in the extreme.
  12. Fatal Instinct
    Director Carl Reiner and writer David O’Malley simply cast their nets too far and wide in this grating sendup, which proves crude without being clever or, for that matter, even remotely funny.
  13. Dutch
    Dutch is dreadful. It’s a shambling, rambling recycling of clichés and conventions from ’70s Blaxploitation fare mixed with stilted murder-trial melodrama and half-baked morsels of sociopolitical topicality. But, really, to describe this rancid slice of ineptitude that way is to risk making it sound a lot more interesting than it is.
  14. Separation
    Despite having characters incessantly explain key plot points, Separation lacks basic logic.
  15. In the Forest
    This quasi-horror tale of bickering vacationers running afoul of disturbed locals strings together various well-worn clichés with a notable lack of suspense, plausibility and style, while excelling in the realm of characters behaving like complete idiots.
  16. Measure of Revenge
    A mess from start to finish, this would-be thriller about a mother seeking vengeance (Melissa Leo) never comes close to raising the pulse but does raise more than a few eyebrows along the way.
  17. The Next 365 Days
    Just because almost everyone’s exhausted by this crummy cash-cow franchise, doesn’t mean the franchise is exhausted in turn. The hope that The Next 365 Days will be the last “365 Days” merely because it’s based on the final book is a slim one, especially given how it ends.
  18. Winnie-the-Pooh: Blood and Honey
    It’s bad enough that the film doesn’t have the smarts to actually satirize its inspirational source. But bizarrely, it doesn’t really send up slasher tropes, either, while lacking the skillset to take play them seriously.
  19. 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.
  20. The Strangers: Chapter 3
    This is an unconscionably lazy piece of work, the kind of movie that makes you marvel how people will put months of work into creating a feature film whose script seems to have been written in a few hours’ uninspired haste.
  21. Krazy House
    Directors Steffen Haars and Flip van der Kuil offer ideas of subversion that feel both long-outdated in concept and completely dull in execution, to the point that merely describing the film feels irresponsible, lest its premise accidentally lure curious viewers to the cinema.
  22. Car 54, Where Are You?
    Crude, virtually laughless and aimed at a target audience that's probably never heard of the source material, "Car 54" should have a short patrol of theaters before being towed away to the vacant lot of "10 worst" lists.
  23. Melania
    Melania is a documentary that never comes to life. It’s a “portrait” of the First Lady of the United States, but it’s so orchestrated and airbrushed and stage-managed that it barely rises to the level of a shameless infomercial. Is it cheesy? At moments, but mostly it’s inert. It feels like it’s been stitched together out of the most innocuous outtakes from a reality show.
  24. The Hottie & the Nottie
    Paris Hilton has already ushered a remarkable three features into the Internet Movie Database's "Bottom 100." The Hottie and the Nottie will make it an even four.
  25. Wash Dry and Spin Out
    A pathetically conceived drama that wastes the serious theme of how emotionally and sexually inadequate men abuse others.
  26. Outta Time
    So absurdly contrived that it begs to be taken as comedy.
  27. Rollerball
    Sheer chaos on wheels, a hysterically edited jumble that defies belief at nearly every juncture.
  28. Vulgar
    Inexplicably mixing lamer-than-lame "bad taste" comedy with yea worse traumatized-assault-victim histrionics, pic's only entertainment value lies in viewer weighing whether pic is primarily a.) offensive b.) amateurish c.) pathetic or d.) a cry for help.
  29. Cabin Boy
    Obnoxious, snide and pointless , this ill-fated spoof carries the bonus of being as crude and gamy as the hold of an old fishing barge.
  30. Showgirls
    Impossibly vulgar, tawdry and coarse, this much-touted major studio splash into NC-17 waters is akin to being keelhauled through a cesspool, with sharks swimming alongside.
  31. Bio-Dome
    Neither the script nor direction lives up to the concept, and the picture evolves into a "Bio"-degradable hash rather than a zany sendup of potent issues and serious intents gone awry.
  32. Freddy Got Fingered
    One of the most brutally awful comedies ever to emerge from a major studio.
  33. The One
    The combo of cheesy effects and martial arts choreographer Cory Yuen's unimaginative staging results in something that's martial artless.
  34. Divorce: The Musical
    Every stab at comedy in this mirthless slog is botched.
  35. Being Human
    Being Human never comes alive. This stillborn series of little fables is so flat and ill-conceived that it could convince the uninitiated that neither Robin Williams nor the highly idiosyncratic Scottish writer-director Bill Forsyth had any talent.
  36. The Trouble with Romance
    Very little that anyone here says, or does, has the slightest connection to any known reality, and if a film is going to perform an autopsy on love, the corpse should at least be recognizable.
  37. Movie 43
    An appalling misfire that tries and fails to evoke the anything-goes spirit of such '70s sketch-comedy concoctions as "The Groove Tube" and "Kentucky Fried Movie."
    • 27 Metascore
    • 0 Critic Score
    Problem Child
    The film marks an atrocious bigscreen debut for actor and episodic TV director Dennis Dugan.
  39. Reasonable Doubt
    This utterly unmemorable, uninspired and unnecessary genre exercise should fade from view so fast they might just as soon have called it “Without a Trace.”
  40. Wrong Cops
    A monstrously unfunny “Police Academy”/“Reno 911” knockoff directed with just enough winking self-awareness to seem both insipid and pretentious.
  41. Persecuted
    At a time when the world offers us no shortage of examples of what actual religious persecution looks like, for a film to indulge in this particular brand of self-righteous fearmongering isn’t just clueless or reckless; it’s an act of contemptible irresponsibility.
  42. Dirty Grandpa
    This contemptible fiasco is not only comfortable courting laughs through ugly mockery of minorities, but also doesn’t even have the courage of its own crass-as-I-wannabe convictions.
  43. Some Kind Of Beautiful
    From first frame to last, “Some Kind of Beautiful” is some kind of hideous, a perfect storm of romantic-comedy awfulness that seems to set the ailing genre back decades with the sheer force of its ineptitude.
  44. God's Not Dead 2
    Dramatically speaking, God’s Not Dead 2 operates at the level of your average middle-school play – except with far greater levels of upside-down logic and bald-faced intolerance for anyone not enraptured by the New Testament.
  45. Mother's Day
    Atrociously written, begrudgingly acted, haphazardly assembled and never more backward than when it thinks it’s being progressive.
  46. Is That a Gun in Your Pocket?
    There are bad movies, and then there are worse movies, and then there are full-bore misfires such as Is That a Gun in Your Pocket?
  47. Officer Downe
    Imagine Paul Verhoeven’s “RoboCop” stripped of its politics, its wit, its humanity, and its craft, and that only gets halfway down the bottom of the barrel scraped by Officer Downe, a hyper-aggressive and thoroughly repugnant piece of comic-book juvenalia.
  48. NOLA Circus
    NOLA Circus (the title refers to both a lead character and the abbreviation for New Orleans) is the kind of hideously unfunny folderol in which most cast members are encouraged to act at the top of their lungs to compensate for the witless script.
  49. Inoperable
    Inoperable is insufferable.
  50. Death of a Nation
    In Death of a Nation, Dinesh D’Souza is no longer preaching to the choir; he’s preaching to the mentally unsound. That’s how detached from reality his “philosophy,” his armchair rage, and his passionate and consuming desire to be a radical-right shill have become.
    • 47 Metascore
    • 0 Critic Score
    Pink Flamingos
    Around the above premise spins the nitwit plot of the poorly lensed 16mm picture Pink Flamingos – one of the most vile, stupid and repulsive films ever made.
  52. The Haunting of Sharon Tate
    The movie’s petty folly — its failure of imagination and morality — is that it actually goes out of its way to turn the Manson murders into schlock horror.
  53. The Fanatic
    Bad in ways that sometimes provoke a disbelieving guffaw, but more often stir pained embarrassment.
  54. The Great War
    The weapons look fake, the stiff action sequences play like poor re-enactments, and you frequently wonder how anyone managed to keep a straight face while firing off some embarrassingly simple-minded lines of dialogue. Even the bright red, corn-syrupy blood splattered around looks like it’s from a different decade of cinema.
  55. The Murder of Nicole Brown Simpson
    It’s a cheap, unloving death march of a movie — scarcely made more intriguing by the half-cooked theory it posits as to who (or how many) did the deed.
  56. After We Collided
    “After” was merely awful. After We Collided is atrocious. Naturally, it’s proving an enormous pandemic-era hit.
  57. Grizzly II: Revenge (1983)
    “Grizzly II” never finds a rhythm — not even a giddily camp one.
  58. Roe v. Wade
    Ideologically scheming and visually inelegant, this is truly tacky stuff.
  59. Zero Contact
    Just when you think this nothing-burger can’t get any more exasperating, it spends a full 10 post-fadeout minutes on final credits.
  60. After Ever Happy
    When that final “to be continued…” title appears — and never has a girly, curly typeface looked more like a ransom note — it’s by far the most heart-clutching #Hessa moment so far, because we realize we’re still at least one whole movie away from release from our collective captivity to this absolute nonentity of a franchise.
  61. 365 Days: This Day
    It’s piping hot trash.
  62. 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.
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