Variety's Scores

Select another publication »
For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
view
per page
  1. The Addams Family 2
    In the case of The Addams Family 2, Tiernan and Vernon have used the sequel as an opportunity for an upgrade. The script is by an entirely new team (Dan Hernandez, Benji Samit, Ben Queen, and Susanna Fogel), and in some ineffable bats-in-the-belfry way the jokes now land with a more inspired and spontaneous creepy kookiness.
  2. Venom: Let There Be Carnage
    Managed (more than directed) by motion-capture star-turned-aspiring blockbuster helmer Andy Serkis, Venom: Let There Be Carnage has all the indications of a slap-dash cash grab. The set-pieces look sloppy, the visual effects are all over the place, and the laughs come largely at the movie’s expense.
  3. No Time to Die
    No Time to Die is a terrific movie: an up-to-the-minute, down-to-the-wire James Bond thriller with a satisfying neo-classical edge. It’s an unabashedly conventional Bond film that’s been made with high finesse and just the right touch of soul, as well as enough sleek surprise to keep you on edge.
  4. Britney Vs. Spears
    This shapeless doc feels overlong at just over 90 minutes, because it’s unclear what, exactly, Carr and collaborator Jenny Eliscu want to say about Spears.
  5. There's Someone Inside Your House
    While a bit of ironic detachment isn’t necessarily a hindrance, too many latter-day horror flicks’ attempts to show they’re in on the joke make it difficult to get invested in their stories. Despite initially appearing poised to repeat this too-cool-for-school mistake, “Someone” moves past it by emphasizing not vengeance but redemption.
  6. The Tragedy of Macbeth
    It shows you, through the ironic empathy summoned by Washington’s performance, just how fast the human race can slip off the tracks. And it brings that drama into ravishing deep focus.
  7. The Auschwitz Report
    The film is a powerful reminder never to underestimate the historical evils that have been, and could again be, unleashed.
  8. Apache Junction
    Once again, Lee prefers to canter rather than gallop as he spins his storyline, allowing his well-cast leads enough time to reveal themselves in sometimes leisurely, sometimes suspenseful dialogue exchanges.
  9. Birds of Paradise
    As Birds of Paradise reveals its (admittedly predictable) secrets one by one, it does so with style and a merited sense of confidence so assertively that even the biggest skeptics of the genre might pause before dismissing it as just another slight YA entry.
  10. Medusa
    The audacity of de Silveira’s concept — in which enrollees at an upscale Christian college indulge in secret, moralizing vigilante mayhem — and her deliberately over-the-top aesthetic render Medusa a compelling mixed bag. It may miss the bull’s-eye, but not for lack of intriguing ideas or style.
  11. The Many Saints of Newark
    It’s a sharp, lively, and engrossing movie, one that provides a fascinating running commentary on how the world of “The Sopranos” came into being. Yet we can’t help but notice the difference in tone.
  12. Only You
    It might do writer-director Harry Wootliff a disservice to call her mature, thoughtfully conceived debut feature Only You one of the latter, but the tinderbox connection between stars Laia Costa and Josh O’Connor is what elevates this grown-up relationship study from respectable to lovable.
  13. True Things
    Harry Wootliff’s jaggedly grown-up psychological drama True Things thrives on the hot, tense chemistry between its two excellent leads: It’s what pulls the audience through an obstacle course of potentially implausible scenarios that instead ring stingingly true.
  14. Saloum
    Revenge is a dish served with considerable style and imagination in Saloum, a fast and furious crime-horror-thriller that twists and turns its way around the mangroves, islets and inlets of Senegal’s Sine-Saloum coastal region.
  15. Costa Brava, Lebanon
    The gentle wisdom it contains is less to do with activist and environmentalist issues and more attuned to country, family and lifestyle choices as abstract concepts, as all the things we mean by the word “home,” which is where Akl’s heart is.
  16. Mona Lisa and the Blood Moon
    Mona Lisa and the Blood Moon is a lark, a contradiction — a lurid, violent, caught-in-the-gutter movie that’s also a nimble and knowing tall tale for adults.
  17. The Humans
    I’ll admit that Karam’s camera strays down one too many empty hallways for my taste, but I love the patience with which he lets things unfold, the respect he shows this family, and the way these characters don’t feel like characters at all, but real people — fellow humans.
  18. Bitterbrush
    Think of John Ford vistas by way of Kelly Reichardt’s lyricism, soulfully underscored by Bach, and you’ll be roughly in Mahdavian’s vicinity.
  19. Official Competition
    Cruz is quite obviously having a ball sending up the ivory-tower vanities and mannerisms of the prodigious auteurs she’s worked with over the years. It’s a performance of fizzy, frenzied, physically elastic inventiveness, though she doesn’t render Lola a complete cartoon.
  20. Old Henry
    We know in our bones where the movie is going, and it’s a steady enjoyable ride, a touch prosaic at times, one that turns into a kind of minimalist chamber-room version of “Unforgiven,” with a surprisingly touching upshot.
  21. Listening to Kenny G
    Ruthlessly entertaining ... Lane is a master archive digger, unearthing priceless artifacts, some damning, others endearing.
  22. A Banquet
    The filmmakers raise some interesting points, but it becomes an exercise in frustration to interpret the calculated connection between disordered eating, the metaphysical, and religious, medieval martyrdom. With nary any tangible scares, or much to truly unnerve or unsettle except from an empathetic humanistic standpoint, this feature-length directorial debut is assured, but far too ambiguous for its own good.
  23. The Box
    Superb ... 'The Box' may see [Vigas] relocating to Mexico, but it’s otherwise wholly of a piece with his debut in its terse, cut-to-the-quick refinement, its loaded, exquisitely composed images, and its fixation on shifting, complex man-versus-boy dynamics.
  24. Captain Volkonogov Escaped
    Merkulova and Chupov deliver the visceral aspects of this Dostoevskian tale particularly well ... But 'Captain Volkogonov Escaped' is so attuned to the physical that the more metaphysical aspects of Volkogonov’s journey are underdeveloped by comparison.
  25. The Survivor
    The Survivor is a Holocaust movie that’s fresh enough to make you laugh between the tears, the gasps of terror, the long road out of the inferno.
  26. My Name Is Pauli Murray
    Although she died in 1985 at the age of 74, the human rights activist, lawyer, poet, professor and first Black woman to be ordained an Episcopal priest owns this journey.
  27. Copshop
    Copshop is a processed slice of genre meatloaf with the gravy occasionally dribbled in ornate patterns. It’s junky and synthetic, but it fills you up.
  28. Writing with Fire
    Thomas and Ghosh have found their angle, and it’s a powerful one.
  29. Dashcam
    The result is at once fun and fatiguing. Scary it’s not, and many viewers will find their patience tested by the character they most hope will be dealt a quick demise being the one we’re principally stuck with.
  30. Little Girl
    Sébastien Lifshitz’s lovely, clear-eyed documentary thoughtfully articulates the disorientation of gender dysphoria not from the inside out — Sasha is never less than calmly convinced of who she is — but from the outside in, as her transitioning identity sparks confusion and resistance in an uninformed community, causing her anxiety in turn.
  31. Cry Macho
    It’s friendly and diverting and formulaic, in an inoffensive and good-natured way, and it’s a totally minor affair.
  32. Nightbooks
    Its whimsical touches, along with a reverence for creative young minds, gives the film a warmth that counterbalances its shocks.
  33. Another World
    In this hard, unblinking film, even a moral victory feels like defeat.
  34. Bad Tales
    Drowning in style but shallow in substance.
  35. America Latina
    America Latina may frequently look and sound terrific, but a Ferrari spinning its wheels is spinning its wheels just the same.
  36. The Desperate Hour
    Watts’ commitment holds the movie together. She acts as if that phone were her flesh-and-blood partner. But it’s not. It’s a device impersonating something human. And so is Lakewood.
  37. The Forgiven
    McDonagh’s characters are more complex than the initial caricatures make them out to be — perhaps, in the end, even pitiful — leaving audiences to decide how they feel about their ultimate fates.
  38. Encounter
    It’s deceptively simple yet deeply philosophical stuff, channeled by first-rate genre filmmaking.
  39. The Electrical Life of Louis Wain
    Whether one considers said work to be worthy of a feature-length movie is almost entirely beside the point, since Stephenson and Sharpe have unearthed so much else that’s engaging about Wain’s story.
  40. Belfast
    The affectionate cine-memoir is rendered all the more effective on account of young discovery Jude Hill and its portrayal of a close-knit family (Ciarán Hinds and Judi Dench and stay-put grandparents) crowded under one roof.
  41. The Eyes of Tammy Faye
    Chastain and Garfield give performances that are brashly entertaining but also canny and layered, as the characters get caught up in something far bigger than themselves. The Bakkers were hucksters of a grand order, and the film uses their spectacular greedhead soap opera to tell the larger American story of how Christianity got turned into showbiz.
  42. Il Buco
    A docufiction that tenderly, wordlessly and rather too obliquely recreates a 1961 speleological expedition to measure the depth of an unexplored crevasse in Italy’s Calabria region.
  43. The Starling
    Suffice it to say that The Starling’s emotional arcs are as narratively complete as they are psychologically dashed-off.
  44. Happening
    Happening is filmed and performed in such a delicate, skin-soft register, meanwhile, that the escalating terror of Anne’s situation is all the more pronounced, eventually pivoting into a realm of wholly realism-based body horror.
  45. 7 Prisoners
    7 Prisoners’ unfolds satisfyingly, precisely by not offering us complete satisfaction or certainty. The question hovers of whether Mateus can ever escape his prison altogether, or merely into one with more comfortable furniture.
  46. Blood Brothers: Malcolm X & Muhammad Ali
    The movie does a compelling job laying out how vulnerable this relationship was, given their faith, given Ali’s ascendency in the nation and the Nation.
  47. Dating & New York
    While following a typical rom-com pattern isn’t inherently unpleasant, the movie’s wink-wink insinuations that it’s going to take things in a novel direction, followed by its embrace of the very clichés it’s poked fun at, makes it feel disingenuous and stale.
  48. The Alpinist
    The images here are often dizzying and dazzling.
  49. The Last Duel
    Despite a brief action interlude here or there, The Last Duel turns out to be a lavishly convoluted and, at times, rather interesting medieval soap opera.
  50. The Guilty
    Gyllenhaal’s impressive, but The Guilty almost certainly would have been more effective if he’d dialed down the intensity a bit.
  51. Malignant
    It’s hard to say whether a film this bonkers “works” or not, but it’s impossible not to admire both the craft and the extravagant bad taste behind its go-for-broke energy.
  52. Dear Evan Hansen
    Dever is the best thing about this adaptation, which feels slightly less creepy in the lied-about-knowing-your-brother-to-worm-my-way-into-your-heart department, if only because Dever’s so good at balancing Zoe’s strength and vulnerability that the situation doesn’t read as a nearly 30-year-old creep manipulating a minor.
  53. Dogs
    Although the director cut his teeth working in commercials and on more comedic material, he has no trouble orchestrating the breath-catching suspense of Dogs, depicting violent confrontations with a certain chilling detachment, then reveling in the gruesome result.
  54. Memory House
    Memory House is, above all, a fable about identities lost and cultural artifacts in need of recovery that doubles as a thrilling and foreboding ride designed to rattle audiences at home and abroad with equal verve.
  55. The Voyeurs
    Writer-director Michael Mohan’s film plays like rehashed leftovers cooked up for young viewers who’ve never seen any of its superior inspirations.
  56. Halloween Kills
    Halloween night may be Michael Myers’ masterpiece, but Halloween Kills is no masterpiece. It’s a mess — a slasher movie that‘s almost never scary, slathered with “topical” pablum and with too many parallel plot strands that don’t go anywhere.
  57. Queenpins
    Gaudet and Pullapilly argue, cheekily and convincingly, that the real crooks are the unseen conglomerates who’ve created a society that devalues products and their consumers.
  58. Fauci
    It’s a documentary that merits a place in classrooms as well as theaters, as a preventative against the virus of cynicism.
  59. Sundown
    Yes, Sundown is a mystery, but it’s also a Rorschach test. No two people will see the film the same way.
  60. The Rescue
    A stunning documentary of bone-deep moral resonance and cinematic mastery that deserves to be experienced on the big screen.
  61. Marcel the Shell with Shoes On
    Don’t miss this strange, special little film.
  62. The Lost Daughter
    Through it all, Gyllenhaal assumes an unfussy, practically invisible non-style that conveys the essential (like that missing doll, visible in the background of a key scene) while privileging the performances.
  63. Cyrano
    With its swooping cameras and beyond-dazzling production design, Wright’s style is more alive than ever, giving new meaning to the word “panache.”
  64. Becoming Led Zeppelin
    Becoming Led Zeppelin is full of essential stuff, but on some level it feels like a Led Zeppelin infomercial.
  65. King Richard
    The beauty of Zach Baylin’s script is that while the arc is familiar, hardly a single detail could be described as clichéd, seeing as how the specifics are virtually unprecedented.
  66. Unclenching the Fists
    A frenzied vocal tone and wild, untethered physicality connects all the performances, with every character seemingly eager to burst out of their own body, and by extension, the life in which it’s stranded.
  67. Boiling Point
    There’s a barreling momentum to the filmmaking that feels true to the cut and thrust of restaurant life, regardless of the script’s digressions.
  68. The Gateway
    The Gateway moves quickly enough to hold attention, if not to cover up its ill-matched individual elements, let alone meld them into a coherent vision.
  69. Best Sellers
    Its portrait of an easy-target industry goes soft just when it needs a little added spine, while the film’s abrupt tonal transitions from jaunty comedy to cross-generational weepie occasionally come at the expense of the characters’ own credibility. But it’s the overarching niceness of “Best Sellers” that sees it through.
  70. Kate
    Winstead makes you believe, however improbably, that if a woman like Kate actually existed outside a screenwriter’s imagination, she wouldn’t be far off from this portrayal: isolated, mule-headed and ready for a change.
  71. Last Night in Soho
    Wright’s particular affections for B-movies, British Invasion pop and a fast-fading pocket of urban London may be written all over the film, but they aren’t compellingly written into it, ultimately swamping the thin supernatural sleuth story at its heart.
  72. Julia
    Julia offers us glimpses of a complex, brittle personality beneath the robust persona, but is either too cautious or too genuinely besotted with the latter to pry it out.
  73. Spencer
    Spencer is an intimate speculative drama that stays as close as it can to everything we know about Diana. At the same time, the movie is infused with a poetic extravagance.
  74. Dune: Part One
    Dune is out to wow us, and sometimes succeeds, but it also wants to get under your skin like a hypnotically toxic mosquito. It does…until it doesn’t.
  75. C'mon C'mon
    C’mon C’mon proves plenty poignant, but it’s less entertaining than it might have been.
  76. The Card Counter
    Part of the beauty of poker is that it doesn’t represent anything. It’s just a game. The Card Counter is a good game that forgets it’s a game by working so hard to be a statement.
  77. The Hand of God
    The Hand of God has some good scenes, but it’s the kind of portrait-of-an-artist drama where you watch the insults, the clashes, the assaultive attitude of it all and you think: Is this what it was actually like for the young Sorrentino growing up in Naples? Or does he simply have an aversion to scenes that don’t hit you over the head
  78. The Power of the Dog
    All of this should build, slowly and inexorably, in force and emotion. But for a film that’s actually, at heart, rather tidy and old-fashioned in its triangular gamesmanship, “The Power of the Dog” needed to get to a more bruising catharsis. In its crucial last act, the film becomes too oblique.
  79. Parallel Mothers
    It’s a film of cascading twists and turns, of thickening complication, of high family drama. Hearing that, you might imagine that it’s a movie of high comedy as well — a giddy and ironic Almodóvarian stew of maternal diva melodrama. But Parallel Mothers, while it keeps us hooked on what’s happening with a showman’s finesse, is not a comedy. It’s not an over-the-top Pedro party.c
  80. Cinderella
    For all the innovative, intelligent decisions made, there are an overwhelming number of frustrating creative choices. The movie’s pacing is inconsistent, especially when it comes to character development, which can feel at once underdeveloped and overstuffed.
  81. Nuuccha
    The film is most effective when its narrow focus on a single, desperately poor Yakut couple allows it space to be fascinated by the straightforward ethnographic details of this little-seen time and place. But its value as human drama wanes as its allegorical impulses become more insistent and the characters are reduced to ciphers in the end, more important for what they represent than for who they are.
  82. Prince
    We are unusually invested in a middle-aged professional woman’s interior life, which is a refreshing place to be. But we are never sure of his heart the way we are of hers and so Le Prince feels entirely truthful to her story, and maybe just a little unfair to his.
  83. Clara Sola
    Mesen’s delicate yet earthy, thoughtful yet sensual movie never tips its hand as to whether Clara’s abilities are real or imaginary — indeed it makes the line between fact and fantasy seem as nonsensical as it might to a horse — and it pays off in one of those obscurely uplifting endings.
  84. Hit the Road
    Like this extraordinary, ordinary family, latticed together by love yet supremely alive in their own individual hearts, Panah Panahi is not just part of a tradition, but his own filmmaker, finding new resonances in territory so familiar its power to surprise should have been thoroughly exhausted by now, but that here feels like a whole new universe.
  85. The Braves
    Without any modulation in the brazen, head-on-collision presentation, once the story takes a turn for the sappy, there is really nowhere for any subtlety or subtext to hide.
  86. The Last Thing Mary Saw
    Vitaletti’s storytelling, and ability to drum up tension or scares, is less potent here than his attention to evoking a general climate of close-minded religious hypocrisy.
  87. Deception
    Arnaud Desplechin’s Deception is a strange, stifling but frequently intriguing attempt to find a cinematic match for the literary voice of Philip Roth, from his autofictional 1990 novel of the same name.
  88. Mark, Mary & Some Other People
    Rosenfield and Law are such a likable duo — he clownish and earnest in equally uninhibited fashion, she brazen and fierce with an underlying sweetness — that the film remains amusing and spry even as it coasts along a path that will feel familiar to most rom-com fans.
  89. Clean
    Obvious and derivative in borderline-shameless fashion, it’s a B-movie knock-off with little originality and even less flair.
  90. Yakuza Princess
    While it generally lacks dramatic oomph and the story is confusing at times, Yakuza Princess delivers plenty of visual excitement.
  91. Wars
    There’s no obvious release or relief here, however: Ducharme’s is an untidy reckoning, as solemn and reticent as the film surrounding her.
  92. Every Single Minute
    Hníková’s absorbing, intelligent, subtly provocative film resolutely avoids passing judgment on the wisdom of raising a boy in the bubble of his parents’ undivided attention; just see if you can do the same.
  93. Everybody's Talking About Jamie
    The songs are nearly all bouncy, look-at-me numbers intended for Jamie and his inner circle . . . . But there’s one new addition that makes all the difference: an original number called “This Was Me,” a terrific ’80s-style anthem (performed by Grant and Frankie Goes to Hollywood lead singer Holly Johnson) that provides younger audiences with some much-needed queer history.
  94. The Year of the Everlasting Storm
    Here we have seven escape routes, each one reconnecting us to a world inevitably transformed by the pandemic — a world where art lives on.
  95. Vacation Friends
    Vacation Friends does earn a fair share of guffaws with its familiar mix of R-rated raunch and feel-good sentiment, and it’s lightly amusing to see the well-cast players breathe a satisfying degree of fresh life into a predictable scenario that recalls “Mike and Dave Need Wedding Dates,” “What About Bob?” and a dozen or so similarly contrived comedies.
  96. He's All That
    While it’s possible to make the formulaic and familiar resound fantastically, that concept has evaded these filmmakers here. Neither bland regurgitation nor innovative retelling, the remake falls somewhere in between, suffering greatly by not establishing a more distinctive identity.
  97. The Macaluso Sisters
    To imagine the decades-long catch-and-release sweep of a single lifespan and condense it into one sub-90-minute film is a feat; to do so about multiple interconnected lives without losing definition is even more impressive.
  98. Who You Think I Am
    Who You Think I Am is a surprise package that plays its trump cards with shrugging insouciance, yielding giggles and gasps in equal measure, sometimes at once.
  99. Anne at 13,000 ft
    Anne at 13,000 ft might look like mumblecore, but it plays as a psychological horror and a ticking-clock thriller that morphs into a wild, windswept tangle of incipient, but never quite arriving tragedy.
  100. Surge
    As an experiment in steering a potentially tight thriller entirely by one character’s irrational whims, it’s abrasively compelling, even if the go-go-go plotting doesn’t withstand closest scrutiny.
Page:

Top Trailers

See all »
See all trailers »