Variety's Scores

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:
17777 movie reviews
  1. Davies is in fine form here, with luminous performances, especially from Rachel Weisz, rounding out a classy package whose only major problem is it may be a bit too true to its period sensibility and legit origins.
  2. Despite a few tonal and structural missteps, this intelligent, perceptive drama proves as intimately and gratifyingly femme-focused as Polley's 2006 debut, "Away From Her."
  3. Repugnant content, grislier than the ugliest torture porn, ought to have made the film unwatchable, but it doesn't, simply because Kim's picture is so beautifully filmed, carefully structured and viscerally engaging.
  4. Absorbing documentary is a natural for artscasters.
  5. Incendies vaults Denis Villeneuve to the status of serious director.
  6. Part of the beauty of Nostalgia is that the many metaphors and surprising parallels between the universe, archaeology and Chile’s recent past rise organically from the material.
  7. Rarely has anyone embodied contradictions as happily and harmoniously as octogenarian New York Times photographer Bill Cunningham.
  8. Like Sebastian Silva's "The Maid," Queen posits a radically different approach to class and gender empowerment.
  9. Brit thesp Paddy Considine makes a strong writing-helming feature debut with Tyrannosaur, recycling the same cast, characters and setup he used for his 2008 award-winning short "Dog Altogether."
  10. Even when the story mechanics feel more than a bit secondhand, the exquisite interplay of vibrant pastel hues and almost photorealist textures (smoothly but not crucially enhanced in 3D) makes the film a continual pleasure to behold.
  11. Like a superior, state-of-the-art model built from reconstituted parts, Joss Whedon's buoyant, witty and robustly entertaining superhero smash-up is escapism of a sophisticated order.
  12. Brave offers a tougher, more self-reliant heroine for an era in which princes aren't so charming, set in a sumptuously detailed Scottish environment where her spirit blazes bright as her fiery red hair.
  13. Mark Landsman's spirited Thunder Soul offers a heaping helping of uplift while documenting the past triumphs and recent reunion of a predominantly black Houston high school's singularly accomplished jazz stage band.
  14. A provocative and surprisingly emotional saga that ranges from wrenching to downright hilarious as it spans more than a quarter-century of unpredictable twists, "Nim" reaches far beyond mere scientific curiosity to become compelling human drama.
  15. Audiences can't possibly predict the upsetting twist to Landry's story, nor the welcome surprise that precedes it, but these two scenes -- both of which Webber was fortunate enough to capture on camera -- are documentary gold.
  16. Jams affords the opportunity to hang with gifted, genre-defying fringe artists at a pivotal point in their evolving careers.
  17. If nothing else, Armadillo proves just how well "The Hurt Locker" captured the mixture of boredom, fear, brutality and locker-room machismo that makes up the day-to-day routine of a frontline soldier.
  18. There's no subtextual allusion really to contempo France or civil wars elsewhere in the world today, just the feeling that this is an interesting story in its own right, fascinating precisely because it's so at odds with modern sensibilities.
  19. Haroun’s tender but unsentimental regard for his characters allows his storytelling a natural gravitas thoroughly suited to the simultaneously unfolding private and national tragedies.
  20. A highly satisfying low-budget horror-thriller from helmer/co-writer Jim Mickle.
  21. The life story of Latif Yahia, body double to Saddam Hussein's diabolically unhinged son Uday, makes for slick action-movie fodder in The Devil's Double, a rocket-powered thriller.
  22. A satirical yet sensitive portrait of life in an evangelical Christian community, Higher Ground marks a startlingly bold directing debut for actress Vera Farmiga.
  23. Exceptional performances by two femme leads and sensitive but unsentimental storytelling throughout.
  24. The uplifting true story of world's oldest primary school student, The First Grader reels you in with its human-interest hook, but packs an even more vital agenda: enlisting Kenyan locals to share little-known details of their nation's independence.
  25. Warmly engaging Buck is a portrait of Buck Brannaman, a trainer whose remarkable way with equines provided a model for "The Horse Whisperer" in both novel and movie forms.
  26. A crusty jewel of a performance by Brendan Gleeson goes a long way toward enlivening an otherwise routine tale of murder, blackmail, drug trafficking and rural police corruption in The Guard.
    • 59 Metascore
    • 80 Critic Score
    Monte Hellman's first feature film in 21 years is one of his finest and deepest, a twin peak to his 1971 masterpiece, "Two Lane Blacktop."
  27. This accomplished debut feature avoids most of the usual pitfalls, channeling its outrage into a tense, focused piece of storytelling with a powerful sense of empathy.
  28. Few movies so taken with death have felt so rudely alive as ParaNorman, the latest handcrafted marvel from the stop-motion artists at Laika ("Coraline").
  29. A love letter to silent cinema sealed with a smirk, The Artist reteams director Michel Hazanavicius with dapper "OSS 117" star Jean Dujardin for another high-concept homage, delivering a heartfelt, old-school romance without the aid of spoken dialogue or sound.
  30. Neither conventional costume drama nor abstract objet d'art, this visually ravishing, surprisingly beguiling gamble won't fit any standard arthouse niche. Still it could prove the Polish helmer's belated international breakthrough.
  31. Again, Muntean and his script collaborators offer exceptionally naturalistic dialogue.
  32. An overview of African-American gospel sounds whose dazzling talent-display should exhilarate viewers regardless of religious leanings.
  33. A bittersweet story of man, beast and a very real relationship that makes helmer Lisa Leeman's documentary the thinking person's "Dumbo" -- and, coincidentally, one of the better kids' movies.
    • 55 Metascore
    • 80 Critic Score
    A clever mixture of comedy and horror which succeeds in being both funny and scary, An American Werewolf in London possesses an overriding eagerness to please that prevents it from becoming off-putting, and special effects freaks get more than their money's worth.
  34. Anyone seeking a dialectic, of course, can look elsewhere, but Hershman Leeson's film is a valuable resource on a movement whose issues remain relevant.
  35. Although this family-friendly tale of feckless adventurers pursuing a prize is consistently funnier than "Arthur," in language, humor and attitude it's as endearingly British as Yorkshire pudding, soccer hooliganism and wonky teeth.
  36. Even working within a more conventional framework, Blomkamp again proves to be a superb storyteller. He has a master’s sense of pacing, slowly immersing us into his future world rather than assailing us with nonstop action, and envisioning that world with an architect’s eye for the smallest details.
  37. This deliberately paced psychological drama builds an ever-tightening knot of tension around an excellent Michael Shannon, here playing a family man slowly driven mad by apocalyptic visions that could be paranoid, prophetic or both.
  38. In a genre infamous for loose ends, this thinking man's thriller marshals action, romance and a dose of very dark comedy toward a stunning payoff.
  39. A macho, adrenaline-fix suspenser that plays like the bigscreen equivalent of those pulpy spy novels that once clogged grocery-store checkouts.
  40. Brit comedian-TV presenter Joe Cornish emerges fully formed as an exciting new writer-helmer with his enormously appealing debut feature, Attack the Block.
  41. Savages never quite captures the novel's diamond-hard sarcasm, it offers other satisfactions in its visceral immediacy, its overriding sense of danger and a clutch of performances that, whatever one's reservations about the characters, can't help but court the viewer's emotional investment.
  42. Lee Hirsch's "The Bully Project" serves as a call to action against abuse of students by their peers as it follows, over the course of a year, five sobering case histories of unrelenting schoolyard persecution.
  43. Footage from an onboard camera thrillingly places the viewer in Senna's lap, and soberingly includes the accident that claimed his life.
  44. Covering their lives with intimate access from before boot camp to the difficult return home, Heather Courtney's documentary packs a savage but understated punch.
  45. We Were Here concentrates on the impressive way a collective of disenfranchised individuals came together to support one another in this time of crisis. In that respect, the title has dual meanings, referring to both the film's "Shoah"-like survivors' testimony and the fact that the gay community was there for one another at a time that government and medicine were slow to respond.
  46. Judd Apatow's instincts have rarely been sharper, wiser or more relatable than in This Is 40, an acutely perceptive, emotionally generous laffer about the joys and frustrations of marriage and middle age.
  47. Though treating women's oppression as a political issue isn't exactly new, the clarity with which it's spelled out in Scheherazade, Tell Me a Story is both bold and brave.
  48. A remarkably intimate documentary woven out of tradition and change, and the endearing subjects who contend with both.
  49. Virtually an experimental film -- the humanity is rich, but pure image and sensation are what makes it tick.
  50. Mixing together some of helmer Aki Kaurismaki's favorite Gallic and Finnish thesps with a few newbies, Le Havre feels like a welcoming family reunion.
  51. Enjoyably upbeat and intelligently inspiring.
  52. With the blistering firecracker that is Miss Bala, next-gen Mexican director and AFI grad Gerardo Naranjo delivers on the promise of such well-respected early pics as "Drama/Mex" and "I'm Gonna Explode," revealing them as dry runs for this "Scarface"-scary depiction of south-of-the-border crime run amok.
  53. Assembly is brisk and high-grade, allowing for the variable quality of archival materials.
  54. As with his previous pics about the brood, Dutch-Indonesian helmer Leonard Retel Helmrich deploys an expressionistic, quasi-soap-opera approach to produce striking results, thanks especially to use of Steadicam. But the protagonists seem to be playing to the cameras more this time round, making "Stars" a less charming effort than earlier installments.
  55. Hope Springs is an altogether pleasant surprise: a mainstream dramedy that frankly and intelligently addresses the challenges facing a couple after 31 years of marriage.
  56. Taking the genre to a higher level of intensity, the Welsh-born Evans continues what he started in previous Indonesia-set actioner "Merantau," but this picture will seal his cult status.
  57. Hungarian schoolteacher Gyongi Mago's campaign to raise awareness of her hometown's once-vibrant, now conspicuously absent Jewish population is captured in the superior docu There Was Once ...
  58. Whereas 2007's well-traveled "Heima" reveled in scenic color imagery of the artists' homeland, this minimalist item strips the band down to its output, fashioning black-and-white performance footage into a uniquely spellbinding experience.
  59. Ultimately, the thrill of Argo is in watching how the illusion-making of movies found such an unlikely application on the world political stage, where the stakes were literally life and death.
  60. Effortlessly entertaining.
  61. Akomfrah's steady, patient pace makes it fairly easy and ultimately fascinating to absorb his many heady references.
  62. Hoop dreams die hard, and the stories in Elevate are both sobering and thrilling.
  63. When this "Enemy Within" settles into key action sequences, such as a stunning nighttime ambush or a daytime battle against Fabio, it becomes wildly entertaining.
  64. A defiantly analog rejoinder to last year's tech-savvy baseball drama, "Moneyball," Robert Lorenz's square but sturdy directing debut rests on the wonderfully spiky chemistry between Eastwood and Amy Adams.
  65. A deeply moving study of emotionally scarred adults who were illegally deported as children to Australia from Britain in the 1940s and '50s.
  66. These days, true-crime docs are a dime a dozen, and yet, returning to the "In Cold Blood" analogy, Into the Abyss dares to plumb the dark hole in America's soul. Herzog's investigation may not work as an anti-death-penalty editorial, but its findings are undeniably profound.
  67. Hoping to do for flesh-eaters what "The Twilight Saga" did for vampires, albeit on a smaller scale, writer-director Jonathan Levine spins Isaac Marion's novel into a broadly appealing date movie about a zombified Romeo and his lively Juliet.
  68. Ladies are gonna love Magic Mike, a lively male-stripper meller inspired by Channing Tatum's late-teen, pre-screen stint as an exotic dancer.
  69. The former Beatle, a longtime Maysles friend, could have found no better documentarian.
    • 93 Metascore
    • 80 Critic Score
    Here is an excellent film whose basic story could have been told within normal feature limits, but which, instead, is extended close to three hours. Longer or shorter, this panorama of British army life is depicted with a technical skill and artistry that marks it as one of the really fine pix to come out of a British studio.
  70. The film surrounds its leads with a cast whose faces capture the ragtag dignity Flynn described in his book -- no overacting required, no emotional panhandling allowed.
  71. Gushing more blood and possessing more stamina than any number of Hollywood hack-'em-ups, writer-director Na Hong-jin's pulse-pounding, mordantly funny genre piece is at times messily convoluted, yet serious and full-bodied enough to achieve a genuinely tragic dimension.
  72. Though its glacial pacing will represent a significant hurdle for many viewers, the film grows steadily more involving as dawn breaks and the men make their way back home, and its unflinching observations of the legal and medical establishment at work frequently rivet. Visually, it's as gorgeous a film as Ceylan has made.
  73. A celebration and a lament -- a celebration of Channing's seven decades as musical comedy star, and a lament that there's really no one like her anymore.
  74. The uncompromising power of Ingrid Jonker's poetry runs like a pulsing vein through Black Butterflies.
  75. The breakout here is 13-year-old Doret, the Dardennes' latest stunningly naturalistic, non-professional acting discovery.
  76. Displaying both a nasty edge and a playful sense of humor -- but thankfully, never at the same time -- Brit import Kill List is several cuts above its fellow midbudget horror brethren.
  77. The present picture, filmed with supreme confidence, offers another unapologetically sentimental story stripped to its emotional core.
  78. Two documentary filmmakers infiltrate a mysterious cult, only to find themselves drawn into the leader's insidious grip, in the taut, compelling low-budget feature Sound of My Voice.
  79. Surfing meets sociology in Splinters, a compelling documentary about the sport's arrival in the Papua New Guinea village of Vanimo.
  80. Though ripe for metaphorical interpretation, the slender setup, about the fate of a horse seen beaten in the streets, gives arthouse audiences little to cling to, and will provide institutional and fest programmers a test-of-wills head-scratcher for their calendars.
  81. The picture combines the built-in drama, tension and suspense of documentaries such as "Spellbound" with exciting, beautifully lensed variations performed by the virtuosos of the future.
  82. Detailing the birth, life and death of America's first major urban housing project in St. Louis, Chad Freidrichs' The Pruitt-Igoe Myth combines concise but thoroughgoing sociological-historical analysis and elegant cinematic resources in service of an uncommonly artful example of film journalism.
  83. The scares are not just intense but unyielding in this compelling horror yarn from "The Exorcism of Emily Rose" director Scott Derrickson.
  84. Viewers unconvinced by the "war is a drug" doctrine set forth by Kathryn Bigelow's "The Hurt Locker" will find it amply corroborated by the self-admitted adrenaline junkies here, whose collective war-reporting experience spans an astounding number of overseas conflicts from Sarajevo and Chechnya to El Salvador and Libya.
  85. Morrison sometimes slows down imagery to a hypnotic, frame-by-frame trance-like state; one can imagine townsfolk scrutinizing the faces of long-dead relatives magically raised.
  86. The Wolverine boasts one of the best pulp-inspired scripts yet. It’s still full of corny dialogue...but there’s a genuine elegance to the way it establishes Logan’s tortured condition and slowly brings the character around to recovering his heroic potential, methodically setting up and paying off ideas as it unfolds.
  87. After putting male insecurity under a comic microscope in "Humpday," writer-director Lynn Shelton hands the fairer sex a more prominent role in Your Sister's Sister, another winning study of relational boundaries crossed and sexual dares gone awry.
  88. Kevin Macdonald's generous, absorbing, family-authorized documentary on the late, still-reigning king of reggae music.
  89. Develops into an endearingly scrappy and romantic romp that serves up some nice soul-searching moments alongside a steady stream of laughs.
  90. Ultimately, the mock-doc device works because Gyllenhaal and Pena so completely reinvent themselves in-character. Instead of wearing the roles like costumes or uniforms, they let the job seep into their skin, a feat without which "End of Watch's" pseudo-reality never would have worked.
  91. There's little doubt that Kazan has written a sly, amusing portrait of male self-absorption and artistic tyranny.
  92. Strength of Davies’ vision is the crux, and it holds the line to the final, confident fadeout.
  93. Suffused with the gentle, unforced humanity viewers have come to expect from Hong Kong helmer Ann Hui, A Simple Life is a tender ode to the elderly, their caregivers and the mutual generosity of spirit that makes their limited time together worthwhile.
  94. It is never less than fascinating — and sometimes dazzling — in its ambitions.
  95. A natural fit for nature-film audiences and the edu-tainment market.
  96. The sum of the film is greater than its parts, and while it does make demands of its audience, the cumulative emotional impact is startling.
  97. Phil Lord and Christopher Miller irreverently deconstruct the state of the modern blockbuster and deliver a smarter, more satisfying experience in its place, emerging with a fresh franchise for others to build upon.

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