Variety's Scores

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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
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  1. Running with the Devil
    The result isn’t exactly a docudrama indictment like “Traffic,” a thriller a la “Sicario,” a plea for innocent victims, or a Tarantino-esque bloody crime comedy. Rather, Running With the Devil is all the above, confidently blending together many narrative and tonal elements into a surprisingly cohesive whole.
  2. Zeroville
    Franco has a truly radical streak in him, and considering how poorly the movie functions as a traditional crowdpleaser, he might as well have gone all out and pushed Zeroville to whatever event horizon the deranged project called for. His mistake wasn’t trying to adapt Erickson’s novel at all, but attempting to turn it into a tragic romance between Vikar and Soledad.
  3. Between Two Ferns: The Movie
    Between Two Ferns: The Movie has some laughs, but it’s essentially the tossed-together version of a hangout movie. It’s a roast served at room temperature.
  4. Send Me to the Clouds
    Bold by mainland standards for presenting a positive portrayal of a woman who’s chosen neither motherhood nor marriage, “Clouds” marks an impressive feature debut for female writer-director Teng Congcong.
  5. Always in Season
    This film offers an engrossing mix of history, investigation and activism.
  6. Rambo: Last Blood
    Here, it’s the screenwriters, not the cartel, who should be held accountable for conjuring a virginal relative only to violate and degrade her.
  7. The Song of Names
    It’s a fatally old-fashioned and lugubrious historical drama, muting the emotional payoff it labors so hard to deliver.
  8. The Kingmaker
    Marcos’ print-the-legend philosophy has particular resonance in a post-truth world, although such sinister undertones sneak up on audiences in a movie that begins, innocently enough, as the latest of Greenfield’s astonishing portraits of wealth run amok.
  9. Guns Akimbo
    This undeniably slick, energetic contraption plays somewhere between grating and numbing.
  10. Human Capital
    This “Capital” succeeds as a well-acted crisscrosser of a melodrama between two awkwardly entangled families in upstate New York. Where it falls well short is in attaining the level of biting social commentary Virzi drew from the same material.
  11. While at War
    This is a worthy enterprise that errs on the side of caution, carrying the slightly stale whiff of awards-bait cinema in which greatness is frequently signaled but inspiration somehow lacking.
  12. Liam Gallagher: As It Was
    The problem for “As It Was” is that this modest turnaround in lifestyle and attitude comes a third of the way into the movie, leaving an hour still to come that will be devoted almost strictly to how well the comeback is going.
  13. Jungleland
    It’s the kind of enterprise that has everything but a single fresh idea, or even moment. ... The sombre tone feels forced rather than earned, because everything here comes out of The Giant Golden Book Of Coulda Beena Contenda Cliches.
  14. American Son
    The overly finished language and theatrical intensity levels that might be potently effective onstage lose any pretense of naturalism under the camera’s unblinking gaze.
  15. Western Stars
    Western Stars isn’t a rockin’-out extravaganza; it’s intimate in its embrace. Yet it’s a moving testament to how much Bruce Springsteen has still got it. It’s a concert film you’ll want to experience with others, as a ray of light in the dark.
  16. Saint Maud
    Skirting easy cynicism to view fire, brimstone and occasional grace through Maud’s awestruck eyes, this is finally as much a sympathetic character study, a mental heath mind-map, as it is any kind of chiller. Whatever the case, it’s one hell of a debut for Rose Glass.
  17. Dirt Music
    Centered on characters who act without much in the way of logic, with much of its dialogue confined to clipped bursts of unsatisfying Hemingwayisms, “Dirt Music” is a fine-looking romance that never finds the right key.
  18. Our Friend
    So much of the unpleasantness has been scrubbed from the picture, until what remains is precisely the kind of dishonest, sanitized no-help-to-anyone TV-movie version of death that inspired Teague to set the record straight in the first place.
  19. Military Wives
    If you’ve seen even one based-on-a-true-story British misfit hobbyists movie, you already know the tune.
  20. Ordinary Love
    David Holmes and Brian Irvine’s score is melodic and insistent, and it knows when to fall away into silence to let the audience appreciate Neeson and Manville’s superb chemistry.
  21. 3 Days with Dad
    Ultimately, however, this tonally untidy yet incrementally affecting dramedy scores a cumulative impact by credibly and astutely depicting eruptions, disruptions and reconciliations during the long goodbye to a dying paterfamilias.
  22. Can You Keep a Secret?
    Its candy-floss-lite sentiments and strong lead performances carry the picture beyond the genre’s limitations. That said, it lacks a sense of uniqueness to set it apart from other female-centric book-to-screen adaptations.
  23. The Weekend
    Notwithstanding any comparisons, there’s more assured personality here than there was in her last feature, the bright, proficient but somewhat synthetic big-studio teen romance “Everything, Everything.” Much of that film took place, by narrative necessity, in hermetically sealed rooms; here, the fresh autumn air agrees with everyone involved.
  24. Waiting for the Barbarians
    Coetzee’s novel, with its measured, interiorized voice and sparse, incrementally devastating narrative, was never an obvious fit for film treatment. After a stiffly mannered, overwritten first act, however, Waiting for the Barbarians gradually gains in poetry and power, while Mark Rylance’s lead performance, as a liberal-minded colonial official undermined and overwhelmed by his tyrannical superiors, gives proceedings a quiet but firm moral core.
  25. Saturday Fiction
    [A] grandiloquently incoherent misfire
  26. Lucy in the Sky
    Distractingly over-directed ... [Hawley] triple-knots his own shoelaces here, stumbling over cumbersome metaphors (butterflies, floating) and high-concept solutions to straightforward dramatic problems when he should have just entrusted his leading lady to carry the narrative.
  27. Synchronic
    Making underwhelming use of its not-bad ... conceit, Benson’s sci-fi-tinged script is not at all ingeniously plotted, insists we care about tritely sketched characters, and is never credible enough to transcend an air of escalating silliness.
  28. Haunt
    It offers nothing particularly new, yet it fulfills the only requirement that really matters for this kind of movie — it’s scary.
  29. How to Build a Girl
    The final product feels like if the greatest musician in the world tried to write a classic in 15 minutes. Yet, “How to a Build a Girl” dares to argue that reinventing yourself doesn’t make you a poseur ... It’s a young person’s jam that will hit the right teen like a thunderbolt.
  30. Harriet
    Harriet is a conscientiously uplifting, devoted, rock-solid version of her story. Yet when it comes to putting the audience in touch with what’s extraordinary about Harriet Tubman — not just illustrating what she did but letting us connect with that quest, and with her, on a moment-to-moment level — Harriet is a conventional and rather prosaic piece of filmmaking.
  31. Color Out of Space
    Entertaining but uneven, the result is a deliberately over-the-top sci-fi horror exercise that loses some focus as the action grows more psychedelically unhinged — its oscillating tone not necessarily helped by Nicolas Cage growing likewise, in one of his less inspired gonzo-style performances.
  32. Disappearance at Clifton Hill
    Shin’s film gets tangled up in its own web. ... His film leaves a vivid impression without quite leaving a mark.
  33. True History of the Kelly Gang
    Lithe and volatile and recklessly stylized to the hilt, True History of the Kelly Gang has moves like Jagger, but a head still teeming with language and history.
  34. The Elephant Queen
    There’s no denying the emotional pull of Victoria Stone and Mark Deeble’s storytelling or the vivid rapture of the images, but “The Elephant Queen” adheres too closely to the parameters of family-friendly nature docs, and the formula doesn’t always serve it well.
  35. The Cave
    This is both an immensely humanist film, and a tough, heartbreaking watch.
  36. Radioactive
    As startling as it is to see the beloved scientist hated in her time, that we’re able to see this headstrong legend as a sexual being at all is a credit to how much Pike gradually humanizes her as a woman, while never pleading for our pity.
  37. The Personal History of David Copperfield
    Iannucci’s The Personal History of David Copperfield comes across as a bright and jaunty corrective to the dour and stuffy Dickens adaptations that have come before.
  38. Motherless Brooklyn
    Lionel’s mannerisms could have gotten obnoxious in a hurry, but Norton calibrates the performance so that the character remains unpredictable without becoming unbearable.
  39. Guest of Honour
    At once overplotted and under-reasoned, hysterical and stiffly earnest, Guest of Honour is finally one of those strenuously diagrammatic mysteries in which everything notionally connects, which isn’t quite the same as everything making even marginal emotional sense.
  40. Endings, Beginnings
    The movie may be a self-help exercise of sorts — for those who seldom recognize themselves on screen, and who don’t measure up to the expectations set by rom-coms and princess movies — but it’s disguised as a shaggy character study.
  41. The Burnt Orange Heresy
    Watching The Burnt Orange Heresy, you may find yourself wishing one of two things: that Claes Bang and Elizabeth Debicki had been around to make elegant little mystery capers with Alfred Hitchcock in his prime, or that Hitch were around today to direct this one, a marble-cool art-fraud thriller that begins lithely and sexily before, somewhat mystifyingly, it takes a terminal turn for the dour.
  42. Babyteeth
    Babyteeth works best as an abrasive four-hander, though Murphy’s limber, sensually electric direction leaves the film with little clear evidence of its theatrical origins.
  43. Downton Abbey
    As a series, Downton Abbey sprawled, giving viewers the drama and chaos they wanted before a season-ending resolution of conflicts. Here, there’s only time for the resolutions, even before the drama happens.
  44. Bad Education
    Bad Education doesn’t shy away from the humor of the situation, but it doesn’t go for the cheap laughs either.
  45. About Endlessness
    If we’ve been here before, the immaculate, somehow tender-hearted execution of About Endlessness ensures this is not a complaint.
  46. Abominable
    The journey is wondrous for the characters, less compelling for the audience.
  47. Ema
    What’s novel about Ema is that Pablo Larraín has made a movie that, in its form, is every bit as warped and jagged and jarring and difficult to cuddle up to as its heroine.
  48. Jojo Rabbit
    It’s like a Wes Anderson movie set during the Third Reich. ... And yet it’s not as if it’s a terrible movie; it’s actually a studiously conventional movie dressed up in the self-congratulatory “daring” of its look!-let’s-prank-the-Nazis cachet.
  49. Angel of Mine
    Oddly, after leaving us aching for the film to go off the rails, when “Angel of Mine” finally does in the final scene, its message is so screwy that the audience might feel as loopy as poor Lizzie.
  50. The Goldfinch
    What you experience isn’t the book, exactly; it’s the strenuous creative labor that went into adapting it. What cast a winding spell on the page has become an occasionally compelling but mostly labored live-action illustration.
  51. Dolemite Is My Name
    A total motherf—kin’ blast. ... You might have to go all the way back to the ’80s to find a Murphy performance driven by this much pleasurable funky verve.
  52. The Painted Bird
    The film’s sheer unblinking stamina is as impressive as its pristine formal composure, though it has to be said that at nearly three hours — somewhat surprising, considering the novel’s brevity — its blunt-instrument force doesn’t yield much fresh perspective on oft-dramatized atrocities.
  53. Just Mercy
    Cretton ... finds a newly supple way to deliver a liberal Hollywood knockout punch.
  54. Hope Gap
    Slow and stuffy, like a filmed play, but also considerably more nuanced and mature than your typical relationship drama.
  55. Blackbird
    Thanks to Michell and a fine cast, it works admirably well — at least to a point, at which some viewers may feel [screenwriter Christian] Torpe piles on one crisis too many.
  56. A Beautiful Day in the Neighborhood
    A Beautiful Day in the Neighborhood is a soft-hearted fable that works on you in an enchanting way.
  57. Knives Out
    Knives Out recalls a time when audiences could still be surprised by such mysteries, before the genre devolved into a corny parody of itself. Johnson keeps us guessing, which is good, but the thing that makes this a better mousetrap than most isn’t the complexity, but the fact he’s managed to rig it without the usual cheese.
  58. Hustlers
    Flashy, fleshy and all-around impossible to ignore, Hustlers amounts to nothing less than a cultural moment, inspired by an outrageous New York Magazine profile (which serves as the sturdy six-inch stilettos on which the movie stands) adapted by writer-director Lorene Scafaria at her most Scorsese, and starring Jennifer Lopez like you’re never seen her before.
  59. Ms. Purple
    Though not in their class, Ms. Purple aims for something of the bruised romance of alienation and ennui that Antonioni made his name on (most notably “La Notte” and “L’Eclisse”). The fact that it even lands in the same ballpark without growing too pretentious or mannered — though it’s admittedly a little of both — is admirable, not least for simply being so out-of-step with any current cinematic vogue.
  60. Strange But True
    Both ambitious and overwhelmed, this sophomore feature from British-Indian director Rowan Athale — whose festival-traveled debut “Wasteland” had lively promise and similarly hinky storytelling — can’t quite decide what kind of weird it wants to be: a loopy B-movie corkscrew ride, or an “American Beauty”-style suburban burlesque with Something To Say.
  61. Once Were Brothers: Robbie Robertson and The Band
    The film picks up more general interest once it moves past the early nobility of the outfit as a band of brothers into the things that cripple the least greatest of groups ... Robertson [is] an articulate and ingratiating tour guide through all this glorious and eventually tortured history.
  62. No. 7 Cherry Lane
    Many will be left bewildered by the sheer, deranged obsessiveness of Yonfan’s nostalgia head-trip — indeed, there were whistles and walkouts at its first Venice press screening — but accustomed Yon-fans and patient adventurers will fall madly for its madness.
  63. Martin Eden
    The outcome is an unwieldy intellectual sprawl whose incontestable visual pleasures (much like Marcello’s “Lost and Beautiful”) distract from the shallow characterizations. ... The overarching impression is of a film too much in thrall to theory.
  64. The Blonde One
    It’s a modest, touching dram
  65. Empathy, Inc.
    A clever indie suspense that draws on fantasy-tinged notions of virtual reality and identity exchange to create an ingenious tale more in the realm of an intimately-scaled thriller than sci-fi.
  66. Where's My Roy Cohn?
    A biographical portrait that doubles as an origin story for today’s amoral political landscape, its marriage of incisiveness and timeliness should make it an indie hit this fall.
  67. Edie
    An uneven dramedy from U.K. commercials helmer Simon Hunter, working from a screenplay by Elizabeth O’Halloran that has a big problem in tone and beaucoup clichéd contrivance.
  68. First Cow
    Reichardt specializes in pared-down narratives, sometimes stripping away so much that boredom sets in. First Cow may be lean, but it offers ample room to ruminate in the comparison between its two time periods.
  69. The Assistant
    Exasperatingly low-key ... This is no time for subtlety, and yet Green’s film feels so restrained, you’d think she was afraid of being sued for slander.
  70. The Aeronauts
    The duo [of Redmayne and Jones] hand-in-hand elevates [The Aeronauts] ... from a flimsy action-adventure to something worth watching on the biggest possible screen, even if it operates on a handful of clichés with little character-based substance to speak of.
  71. Blink of an Eye
    Waltrip’s earnest and forthright narration lends Blink of an Eye its intimacy and insight.
  72. The Two Popes
    While its subject may be religious, The Two Popes doesn’t want to convert the viewer. Rather, as an extraordinary piece of writing — and an even more impressive showcase for its actors — it eloquently communicates the importance of giving people something to believe in.
  73. The King
    Too many movies set in this period end up as action films in medieval drag. The excitement of “The King” is that Michôd lays out the consequences of combat with gruesome precision, demythologizing the battle.
  74. It: Chapter Two
    It: Chapter Two is much longer than it needs to be, but it builds to something significant — and a lot of that filler feels justifiable in terms of how audiences’ consumption patterns are changing.
  75. The Perfect Candidate
    At every step, Al Mansour feeds the audience exactly what she thinks will make them feel good about positive change in Saudi Arabia, setting up conflict and resolution with all the nuance of a by-the-numbers construction kit.
  76. Bait
    The engaging and defiantly hand-crafted, offbeat experiment Bait may be black and white, but its insights, thankfully, come in subtly graded shades of gray.
  77. Chained for Life
    At times Schimberg’s gambits feel too coy, their aim too dry despite the sensational hooks. But more often than not, the immediate impact is engagingly droll, and there’s no questioning the overall adventurousness, confidence and originality.
  78. Wasp Network
    It leaves viewers gratified by the filmmaking bravura and the sheer pleasure of watching this superb cast in top form, but also feeling shortchanged.
  79. American Skin
    It’s a good movie: tense, bold, angry, empathetic, provocative, observant, morally engaged. And also, to be honest, a trifle gimmicky.
  80. The Laundromat
    The Laundromat is Soderbergh at his most playful, and also Soderbergh at his most wonkish, and damned, in this case, if the two don’t chime together.
  81. Uncut Gems
    Uncut Gems feels like being locked inside the pinwheeling brain of a lunatic for more than two hours — and guess what: It’s a gas!
  82. Bennett's War
    While “War” may be a duly formulaic feel-gooder at heart, it also soft-pedals the more potentially heavy-handed emotional beats to pleasing effect.
  83. Joker
    Phoenix’s performance is astonishing.
  84. Judy
    Director Rupert Goold and resurgent star Renée Zellweger have pulled off something unusual and affecting in Judy: a biographical portrait in which performer and subject meet halfway, illuminating something of each other in the process.
  85. Waves
    Propelled by color, energy, electronic music and a quartet of career-making performances, here is that rare sort of cinematic achievement that innovates at every turn, while teaching audiences how to make intuitive sense of the way it pushes the medium.
  86. A Rainy Day in New York
    It is a retread of territory Allen has extensively covered before, but while the same can be said about almost all of his late-career work, seldom have the gears ground quite so loudly, and never before has the writing felt this chronically out-of-phase with the era it depicts.
  87. Ford v Ferrari
    Watching Bale and Damon channel those two speed freaks in all of their surly, testosterone-spitting glory is a reminder of how much fun it was to watch Bale play a similar character opposite Mark Wahlberg in “The Fighter.”
  88. Seberg
    Every time it threatens to truly pierce the psyche of its subject, played with typically intriguing, elusory intelligence by Kristen Stewart, the more ordinary mechanics of the movie she’s serving get in the way.
  89. An Officer and a Spy
    An Officer and a Spy has a this-happened-and-then-this-happened quality. And that’s why the movie, beneath the two-dimensional jauntiness of its acting and the period vividness of its sets and costumes, feels more dutiful than riveting.
  90. Greener Grass
    Presented as if filtered through a sunny Instagram setting, Greener Grass won’t exactly make you envious of the over-idealized lifestyle it skewers, and yet it’s such a delightful place to inhabit, you won’t want to leave when the credits roll.
  91. Vision Portraits
    Bolstered by the writer-director’s own journey, recounted via a collage-like aesthetic that eloquently conveys his circumscribed condition, it’s a nonfiction study of artistic creation and, also, of individual courage and perseverance.
  92. Raise Hell: The Life & Times of Molly Ivins
    The late journalist’s career and witticisms are smoothly encapsulated by veteran documentarian Janice Engel’s slick feature.
  93. Killerman
    Bader does a respectable job of sustaining interest by repeatedly introducing clichés and genre tropes, then upending expectations or taking unpredictable detours.
  94. Before You Know It
    A diverting yet awkward mix of farcical elements and earnest feeliness. The two never quite gel, and it’s hard to care about the nice characters who somewhat improbably put up with wildly insufferable ones. There’s some invention and good humor here, yet the whole feels inorganic.
  95. Ad Astra
    Gray proves beyond measure that he’s got the chops to make a movie like this. He also has a vision, of sorts — one that’s expressed, nearly inadvertently, in the metaphor of that space antenna. Watching Ad Astra, you may think you’ve signed on for a journey that’s out of this world, but it turns out that the film’s concerns are somberly tethered to Earth.
  96. Marriage Story
    At once funny, scalding, and stirring, built around two bravura performances of incredible sharpness and humanity, it’s the work of a major film artist, one who shows that he can capture life in all its emotional detail and complexity — and, in the process, make a piercing statement about how our society now works.
  97. The Truth
    From first shot to last, it’s a film of high wit and confidence and verve, an astonishingly fluid and accomplished act of boundary-leaping.
  98. The Load
    It requires a degree of commitment on the part of the viewer to join the sparsely placed dots of Glavonić’s harshly intelligent and uncompromisingly spare story, especially when the picture they form is so harrowing. But the elements that frustrate can also devastate.
  99. Super Size Me 2: Holy Chicken!
    It has its amusing (and enlightening) moments, but in many ways it’s just dancing around the meat of the matter.
  100. The Fanatic
    Bad in ways that sometimes provoke a disbelieving guffaw, but more often stir pained embarrassment.
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