Variety's Scores

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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
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  1. Brothers By Blood
    It’s only Guez’s second film, although he’s written others (including the similarly genre-subverting zombie movie “The Night Eats the World”), and there’s enough promise here — especially on the performance front — to look forward to future projects.
  2. PG: Psycho Goreman
    As satire, Psycho Goreman is no “Planet Terror,” but it’s a droll enough schlock-in-quote-marks diversion, and part of its appeal is just how damn cheap it is. In the omni-tech era, it’s fun to see a filmmaker build an FX fantasy out of scraps, from the ground up.
  3. The Human Factor
    Moreh offers no analysis — an especially unfortunate stance given explosive feelings and wildly variable interpretations of events. Finally, the film pushes the deeply disquieting assumption that the United States knows what’s best for those troublesome people in the Middle East, whose tantrums kiboshed all the hard work and emotional investment put in by the sainted Americans.
  4. Identifying Features
    A film that straddles the line between artful and arty like this one isn’t designed for a wide public. There are moments that are striking, even if the their impact is muddied by a minimalism that at times feel pretentious. “Features” is ultimately worth the sit, but it needn’t have required quite so much effort.
  5. My Rembrandt
    Hoogendijk also has a keen eye for drama, and My Rembrandt is dotted with anecdotes that snowball into lively art-world clashes of ego.
  6. 1982
    Director Oualid Mouaness’ enriching use of images and sensitivity to narrative balance outweigh his unexceptional dialogue in 1982. Even with such a caveat, his debut feature succeeds in accessing emotional truths that leave a lingering bittersweet melancholy.
  7. Dead Pigs
    If that lack of discipline is the cost of the generous, expansive, energetic wit of Yan’s immensely promising first feature, it’s one we should be happy to pay.
  8. Simple Passion
    An imperfect but glassily compelling study of obsessive, finally debilitating desire that honors its source with an unblinking female gaze.
  9. The Ultimate Playlist of Noise
    In the last 20 minutes, Keean Johnson, who mostly acts cool and on top of things, drops his guard, letting in an honest ripple of pain and fear. He hits a true note, and the fact that Marcus can’t hear it almost makes up for the doom-laden whimsy of the rest of the movie.
  10. Blithe Spirit
    A tin-eared, lumpen-footed, almost perversely unfunny new spin on Noël Coward’s breezy 1940s farce.
  11. Once Upon a Time in Venezuela
    Over the course of several years, Anabel Rodriguez Rios’ unsentimentally elegiac documentary Once Upon a Time in Venezuela quietly observes Congo Mirador being brought to its knees, to progressively powerful and enraging effect.
  12. Acasă, My Home
    Balance and objectivity are laudable instincts, but they can put the film at a slightly frustrating remove.
  13. American Dream
    Kaminski takes a similarly dour, no-nonsense approach to what could be a cheerfully all-nonsense story — as if stripping junk food of its fat — and this “American Dream” dies somewhere in the impasse.
  14. Blizzard of Souls
    With its muscular direction by former documentarian Dzintars Dreibergs, atmospheric cinematography and careful attention to period detail, this account of a troop of Latvian Riflemen fighting first for the Russian Imperial Army against invading German forces and then for an independent Latvia should appeal to WWI buffs and fans of Sam Mendes’ “1917.”
  15. The Dig
    It’s hard to say whether the period this picture exhumes was any more innocent than what the world now faces, but that’s certainly the way Stone plays it, acting like an urbane orchidologist, cross-breeding contemporary art-house touches with the old-school refinement of a vintage Masterpiece Theatre production. Sometimes the best escape from the craziness of today is to lose oneself in history.
  16. Skyfire
    This thrill-packed tale about an angry volcano wreaking havoc on thinly written characters at a luxury island resort plays like a souped-up and much better remake of Irwin Allen’s 1980 turkey “When Time Ran Out.”
  17. If Not Now, When?
    It’s not groundbreaking but, written by Bass, the movie serves as a fine reminder of the pleasures of a female-focused story with the stuff of adulthood at its core.
  18. Locked Down
    Locked Down, at times, generates an uneasy mixture of intimacy and showiness, yet it’s a kick to watch a couple of actors who are this terrific pull out all the stops.
  19. Outside the Wire
    Apart from his programming, there’s little that sets Leo apart from your average action hero. And that, of course, is the problem with nearly all of these Netflix movies in the end: They approximate, but seldom surpass, what they’re meant to replace.
  20. Stray
    Throughout the mostly wordless “Stray,” we wonder with compassion and considerable self-critique whom the society uplifts and supports vs. whom it chooses to disregard and deem invisible.
  21. Crack: Cocaine, Corruption & Conspiracy
    Nelson, who has the ace documentarian’s flair for making history far more interesting than the mythologies it’s cutting through, has directed a film that stays true to the epic devastation crack left in its wake and, at the same time, examines all the ways that the government and the media used the grim reality of crack, turning it against the very people who were being victimized by it.
  22. Stand!
    Earnest and plainly felt, this grafting of a cross-cultural romance onto the story of a critical turning point in Canadian workers’ rights doesn’t want for incident and emotional commitment, but Robert Adetuyi’s film does fall a little short on showmanship.
  23. Grizzly II: Revenge (1983)
    “Grizzly II” never finds a rhythm — not even a giddily camp one.
  24. The Mauritanian
    The story gains momentum as it goes, and by the end, it’s positively gripping.
  25. The Marksman
    The director, Robert Lorenz, stages the action with a convincing ebb and flow, but thanks to an undercooked script what happens in between is mostly boilerplate.
  26. Redemption Day
    If Redemption Day were any more generic, the first thing you’d see on screen would be a bar code in place of the opening credits.
  27. The White Tiger
    The White Tiger isn’t a fairy tale, but by the end the movie still leaves you feeling that it has made a wish into a command.
  28. The Reason I Jump
    Nimbly switching between different lenses and sonic streams, Rothwell invites viewers inside the psychological isolation and overwhelming sensory awareness felt by people at various points on the spectrum, as well as cathartic breakthroughs in expression and connection with others.
  29. My Octopus Teacher
    My Octopus Teacher never loses our goodwill: If we wind up wishing it had a little less man and a little more beast, that only serves its cause.
  30. Fatale
    The story provides basic satisfactions expected from its ilk — infidelity is punished, pure malevolent craziness likewise — even if more rotely than one might hope. Part of the reason there’s a diminished climactic payoff here is that Swank, credible enough early on, can’t quite summon the demented spark Val needs.
  31. Tove
    Marking her fifth feature, Bergroth flexes her considerable cinematic powers, conjuring vibrantly expressive visuals and confident performances from her talented cast, especially the petite theater thesp Pöysti, who excels in her first leading film role and strongly resembles the real Tove.
  32. Monster Hunter
    Very little of Monster Hunter makes sense, but it’s visually interesting at least and not un-fun to stream at home with a friend, asking questions and cracking jokes along the way.
  33. Queer Japan
    I wish that “Queer Japan” had delved more into historical matters of fashion and androgyny, or into the life of someone like Yukio Mishima. It’s a very present-tense movie, but how did the movements on display evolve? Kolbeins would have done well to show us. Instead, he presents a snapshot of a revolution in midair, leaping to find a form for how to remake the future.
  34. Modern Persuasion
    Alex Appel and Jonathan Lisecki’s film is both too innocuous and too flatly imagined to stir much feeling either way. What it does have going for it is Alicia Witt, a likable, spirited star too little used by Hollywood of late.
  35. Greenland
    In its relatively small-scale, often rather plodding B-movie way, it wants to do for apocalypse thrillers what “Contagion” did for outbreak movies. And there are moments when it does.
  36. Wonder Woman 1984
    For nearly two hours of its 151-minute runtime, Wonder Woman 1984 accomplishes what we look to Hollywood tentpoles to do: It whisks us away from our worries, erasing them with pure escapism.
  37. Wild Mountain Thyme
    Wild Mountain Thyme is the kind of film you want to love, just as you want these two characters to fall in love, and it’s simultaneously exasperating and original that they don’t go about their courtship in the usual fashion.
  38. Sing Me a Song
    While more than an hour and a half seems like a long time to make the simplistic statement that the internet is bad, Balmès has greater profundity in mind when disseminating astute observations about how modern necessities and communicative devices impact cultures and ecosystems.
  39. Small Axe: Education
    The brilliance of this particular episode is how it allows us to see ourselves in Kingsley and to consider the many unseen forces at play in our own socialization. For Black audiences, it confirms many of those invisible barriers. For white ones, it may lead them to question whether the myth of their “success” owes in part to keeping others back.
  40. The Bee Gees: How Can You Mend a Broken Heart
    In its middlebrow celebratory way, How Can You Mend a Broken Heart reveals the Bee Gees’ saga to be one of the most fascinating and, at times, awe-inspiring in the history of pop.
  41. Shawn Mendes: In Wonder
    Singer does find a slight bit of drama to seize on at about the two-thirds point of the film, which, for understandable purposes of having anything at all happen in the movie, he trumps up to the point it becomes nearly comical.
  42. My Psychedelic Love Story
    When you watch a documentary, some talking heads are more arresting than others, and Joanna Harcourt-Smith, seated before Morris’ camera, seems like a supporting player who’s been elevated to the lead.
  43. Small Axe: Alex Wheatle
    “Alex Wheatle” is like a sketch for the biopic it might have been, but by the end you feel you’ve glimpsed the key fragment of a life.
  44. Love, Weddings & Other Disasters
    If Love, Actually had actually been as bad as its most vociferous detractors have long insisted, it would have looked and sounded a lot like this misfire.
  45. Wander
    The film’s hyperbolic style and convoluted storytelling tend to exhaust patience rather than build intrigue, making for a muddle whose too-many twists and turns ultimately seem meaningless as well as implausible.
  46. 76 Days
    That it’s so artfully and elegantly observed, and packs such a candid wallop of feeling, atop its frontline urgency is testament to the grace and sensitivity of its directorial team, not just their timely savvy.
  47. Half Brothers
    It’s a slick film that’s forgettable at best, annoyingly broad and unfunny at worst.
  48. News of the World
    Suspense is not the film’s strong suit, and while the trek in between needn’t be dull, Greengrass has made it curiously unengaging.
  49. The Stand In
    Ultimately, the only respectable thing that remains consistent throughout The Stand In is the beguiling appeal Barrymore brings to both of the personalities, even though neither of them is particularly likable.
  50. Safety
    Although Safety takes its cues from a true story, its beats are comfortingly familiar — or annoyingly so, depending on your fondness for the rhythms of the genre.
  51. Giving Voice
    Filmmakers Stern and Villena use an intimate approach with the participants in the documentary.
  52. Yalda, a Night for Forgivness
    Bakhshi’s sure-handed assessment of Iran’s class struggle, a thoughtfully-parsed topic with universal implications, is the film’s most fascinating dimension.
  53. The Very Excellent Mr. Dundee
    “Mr. Dundee” is saved from total catastrophe by Hogan’s natural-born appeal.
  54. Gunda
    Its radiantly beautiful imagery and gently immersive storytelling aren’t in service of a single browbeating message, but a broader, holistic view of where we and the animals we rear, use and consume fit into a single circle of life.
  55. Sir Billi
    Sir Billi lacks the looks or charm of even the most rudimentary CG offerings being made today, as if not only the animation but also the plot and characters were spat out by off-the-shelf software.
  56. The Midnight Sky
    Some viewers will surely be moved. To me, though, The Midnight Sky just proves that a movie that reaches for the stars can still come up empty-handed.
  57. A Sun
    There’s a deep well of truth in “Parking” helmer Chung’s fifth narrative feature, and this unforgettable family drama promises both to devastate and to uplift audiences in virtually any country where a Mandarin-language masterpiece stands a chance at being released.
  58. Let Them All Talk
    It’s probably best to think of this as either an experiment or an exercise, Soderbergh’s way of challenging himself yet again. What results may not be literature exactly, but it broadens other creators’ of idea of what the medium can do.
  59. All My Life
    The warmth and touching tenderness of All My Life melts even the coldest of hearts in its quest to deliver happy and sad tears.
  60. Soul
    It all blends together beautifully, a marriage of Pixar’s square, safe, feel-good sensibility with what could be described as the “real world” — and one that, much as “Inside Out” anthropomorphized the mind, will leave audiences young and old imagining their own souls as glowing idiosyncratic cartoon characters.
  61. Godmothered
    The movie does serve up a rather satisfying ending, suggesting the studio’s latest politically correct reinterpretation of “true love.” The rest looks cheap and lacks much of a personality.
  62. Mayor
    It’s an acutely observed you-are-there procedural about a modern metropolis that dares to exist, even thrive amid the enduring repercussions of 1967’s Six-Day War, when Israel occupied the region.
  63. The Prom
    The movie has a universalist spirit that’s wired into its very form. It turns doing the right thing into a fizzy and elating high-camp showbiz high.
  64. Superintelligence
    Some of the funny business is very funny indeed, and the movie overall is more enjoyable than not. Which, again, makes it perfect for streaming.
  65. Zappa
    It’s a multimedia immersion, filled with rare footage of Zappa from his teenage years on and assembled with the loving dexterity we’ve come to expect from Alex Winter as a filmmaker.
  66. The Croods: A New Age
    For those who wish they’d just slow it down and tell a decent story, The Croods: A New Age feels like an assault on the cranium, a loud and patently obnoxious 21st-century “Flintstones” with far more sophisticated technology, but nothing new to offer in the script department.
  67. Happiest Season
    The film is cheeky and blithe and situational, suffused with enough upscale Christmas froth to get the audience high on spiced-cocktail fumes. In a key scene near the end, it’s more than willing to go over-the-top. Yet Happiest Season is also a deft and humane dramedy of manners that’s really about something.
  68. Vanguard
    This action spectacular seems hellbent on containing every possible marketable genre element, with no concern for whether they cohere or cancel one another out.
  69. Ma Rainey's Black Bottom
    How fortunate that Boseman’s legacy should include this film, an homage to Black art that’s tough enough to confront the costs of making it.
  70. Run
    Between this and “Searching” (with its Asian American leads), Chaganty is actively expanding audiences’ ideas of what movie heroes can be. In the end, the character’s disability feels like an extension of the approach taken in his debut. Once again, perceived limitations become opportunities for more creative solutions, and differences disappear unless audiences decide to obsess over them.
  71. The Princess Switch: Switched Again
    Though inevitably the formula wears a little thinner in spots this time, it’s a frothy fantasy that should satisfy viewers’ itch for confectionary-looking Christmas fluff.
  72. Embattled
    At several points in Georgian director Nick Sarkisov’s roaring, blood-and-guts film, it’s hard not to wish it would take things down a notch: A hokey, old-fashioned father-son meller clothed in a younger man’s bling-encrusted robes, it increasingly sacrifices emotional credibility for the violent, amped-up bravado of MMA itself.
  73. Sound of Metal
    Sound of Metal is two hours and 10 minutes long, and it moves at a snail’s pace, not because “nothing happens,” but because Marder hasn’t filled in the dramatic interior of what does happen. He has made a movie about deafness that’s at once experiential and too muffled to hear.
  74. The Christmas Chronicles 2
    When Christmas movies cease to be special (when they’re all scooped out of the same river of nonstop product), there’s something almost reassuring about a Christmas movie that lifts you up by knowingly dumbing Christmas down.
  75. The Twentieth Century
    The more familiar one is with Canadian history, the funnier it is. But even without prior knowledge of our neighbor to the north, it can be enjoyed for its combination of supreme creativity, jaw-dropping audacity and amusing tongue-in-cheek dialogue.
  76. Hearts and Bones
    The intuitive selection of the four leads, and their complex, perceptive playing of the material, is a credit to Lawrence’s deft direction of both veteran and non-professional talent.
  77. The Ride
    The Ride doesn’t break new ground, but its likable cast delivers some nuanced even touching twists.
  78. The Endless Trench
    The Endless Trench plunges us into a living nightmare with enough atmospheric precision of its own: It needn’t literally spell things out for us.
  79. Come Away
    As it is, the film feels simultaneously far too heavy and not at all substantial, a long, slow buildup to something wondrous that never comes.
  80. Chick Fight
    Instead of the cleavage, hair-pulling and Jerry Springer antics it teases, Chick Fight serves up a blandly formulaic and scrupulously inoffensive tale of female empowerment.
  81. Jingle Jangle: A Christmas Journey
    His vision is big, but the execution clunky and crowded with detail, such that it all plays like a regional-theater production of “The Wiz” staged within the walls of “Mr. Magorium’s Wonder Emporium.” Talbert is positively unabashed about Jingle Jangle’s too-muchness, as if trying to make up for a century of underrepresentation by stuffing everything he can into two hours’ worth of Christmas pageantry.
  82. What We Wanted
    It’s a handsome, sensitive entry in the genre — one that treats its internally bruised characters with the care of a patient, kindly therapist.
  83. Freaky
    As a meta entry in that most disposable of genres, the teen slasher movie, Freaky manages to feel original, which is saying something, since it’s basically warping conventions we’ve all seen a million times before.
  84. Fatman
    This, in other words, is not your father’s grungy one-joke yuletide action comedy. It’s “The Santa Clause” meets “Magnum Claus,” and it’s pitched to the Gibson faithful with the idea that they’ll follow him anywhere (which they probably will).
  85. Transhood
    While wholly sympathetic to the cause, Transhood isn’t just a work of blandly cheery activism: Liese frankly observes the practical obstacles and psychological swings endured by its four young subjects and their families, sometimes to upsetting effect.
  86. Monsoon
    Monsoon is a graceful and truthfully irresolute investigation into the strange, often poignantly unreciprocated relationship that many first- and second-generation emigrants have with the far-off foreign country of the past.
  87. Dirty God
    Much attention will deservedly be paid to Knight’s impressively nuanced performance – it’s one thing to cast an amateur who’s been through similar experiences, and quite another to get that person to inhabit a fictional character.
  88. Leap of Faith: William Friedkin on the Exorcist
    Essentially a single interview with Friedkin interspersed with repeatedly revisited clips, Leap of Faith chiefly examines — per its title — the film’s spiritual allusions and illusions, distinguishing it from just any old making-of doc.
  89. Hillbilly Elegy
    As long as Close is acting up an award-worthy storm (her performance is actually quite meticulous), Hillbilly Elegy is never less than alive. Adams does some showpiece acting of her own, but as skillful as her performance is, she never gets us to look at Bev with pity and terror.
  90. 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.
  91. Kindred
    Kindred is a demonstration of how a naturalistic horror film can be derivative, in the most flagrant and shameless way, and still work.
  92. Mank
    Mank is a tale of Old Hollywood that’s more steeped in Old Hollywood — its glamour and sleaze, its layer-cake hierarchies, its corruption and glory — than just about any movie you’ve seen, and the effect is to lend it a dizzying time-machine splendor.
  93. The Killing of Two Lovers
    Crawford’s dominating performance makes David no hick but a sensitive and accommodating man a bit intimidated by his admittedly “much smarter” wife, flailing in his efforts to hold together a family unit he can’t go on without.
  94. Operation Christmas Drop
    An anodyne, friction-free romantic comedy that faintly distinguishes itself from its snow-sprayed genre brethren with enticingly balmy South Pacific scenery. If nothing else, it gives viewers something to daydream about while they keep half an eye on its story.
  95. Collective
    This is truly a documentary for our times, deserving of widespread exposure.
  96. Farewell Amor
    The simple humanism here makes the case for nurturing and celebrating America’s immigrant population in a more eloquent and persuasive way than a more polemical film ever could.
  97. Let Him Go
    Let Him Go isn’t subtle, but as a genre film it’s original and shrewdly made, with a floridly gripping suspense. And Lane and Costner give it their all in a casual way that only pros this seasoned and gifted can. They turn the movie into an unlikely thing: a touchingly bone-weary romance steeped in vengeance.
  98. The Donut King
    Gu’s to be commended for recognizing that the hollow part of a donut might provide such a rich window into another culture. There’s much to learn about the immigrant experience from her research, even if the movie leaves us craving two things: donuts, obviously, but also a more well-rounded sense of all the incredible personalities she too-politely engages with along the way.
  99. The Night
    Featuring excellent performances by Shahab Hosseini (“A Separation,” “The Salesman”) and Niousha Jafarian (“Here and Now”) as a married couple with a baby daughter and a frayed relationship, this predominantly Farsi-language production sneaks up on viewers and delivers a knockout final act.
  100. Spell
    This is a decently stylish thriller with occult elements that should satisfy viewers’ genre requirements, though few will demand a second watch (or sequel).
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