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. The Curse of La Llorona
    An efficiently formulaic shocker.
  2. Extra Ordinary
    Extra Ordinary is a kind of tea-cosy “Ghostbusters” that’s consistently funny in a pleasingly off-kilter way.
  3. Porno
    Unfortunately, Porno gets more uneven as it goes on, with a somewhat slack midsection and a mix of earnestness, broad comedy, titillation, and moralizing that neither fully gels, nor makes something unpredictably wild out of those clashing elements.
  4. Villains
    This black comedy thriller has a good cast to spark a scenario that’s intriguing enough to hold attention, if not quite clever enough to be a knockout.
  5. Yes, God, Yes
    Yes, God, Yes is bound to rankle some conservative Christians of every denomination ... But Dyer’s Alice generates too much rooting interest, and the movie as a whole is too nondenominationally likable, for most other viewers to cast any stones.
  6. Nancy Drew and the Hidden Staircase
    But here’s the cool thing: The film’s consistently clever script, from empowerment-minded “The Handmaid’s Tale” writers Nina Fiore and John Herrera, isn’t nearly as interested in the mystery as it is in Nancy Drew herself, or in the circle of characters and relationships that surround her. And that’s the smart way to approach such a case, since the movie was clearly intended to be more than a one-off.
  7. Captive State
    Although the TV ads and other promotional material appear to promise a megaplex-ready thrill ride about space invaders and rebellious Earthlings, this rigorously intelligent, cunningly inventive, and impressively suspenseful drama plays more like a classic tale about a disparate group of resistance fighters united in a guerrilla campaign against an occupying force.
  8. No Manches Frida 2
    dreary...Bright, crude and aggressively hackneyed, director Nacho G. Velilla’s follow-up prizes energy over originality. While its humor elicits far more eye-rolls than laughs — and will thus leave franchise newbies cold — its high-octane style should appeal to fans of the first film.
  9. Bruce!!!
    The film moves along lackadaisically, without any knack for establishing scenarios, or setting up punchlines, that might lead to laughs — which, in turn, often makes it play like an enervating drama. Bruce!!!! makes a lot of verbal noise, but it says nothing worth remembering.
  10. Finding Steve McQueen
    Finding Steve McQueen is a ramshackle indie heist drama that has a little bit (but not much) to do with Steve McQueen.
  11. Wonder Park
    The notion of a larger-than-life theme-park world as a projection of what June is going through comes directly out of “Inside Out,” but the comparison does Wonder Park no favors, because the earlier film was a masterpiece of bursting ingenuity, leaving this one to play like the scaled-down toddler version. On that score, it must be said that little kids will like Wonder Park just fine. But there’s a difference between a great escape and a winsomely crafted pacifier.
  12. Five Feet Apart
    Fresh off of memorable supporting parts in “The Edge of Seventeen” and “Support the Girls,” Richardson gives a star turn every bit as charismatic and assured as the film is formulaic and forgettable, bringing soul, style and nuance to a character that could have easily been a condescending caricature.
  13. The Peanut Butter Falcon
    An odyssey audiences won’t soon forget.
  14. Good Boys
    A little too imitative of “Superbad” ... Good Boys lacks that film’s wit and heart. It’s a lively, slick package, yet crude and obvious at every turn.
  15. The Highwaymen
    Commands attention less as historical counterpoint than as a sturdy showcase for the neatly balanced lead performances of Kevin Costner and Woody Harrelson.
  16. Booksmart
    Not since “Superbad” has a high school comedy so perfectly nailed how exhilarating it feels to act out at that age ... In this year’s class of first-time feature directors, Wilde handily earns the title of Most Likely to Succeed.
  17. The Art of Self-Defense
    This singular black comedy balances off-kilter humor with an unexpectedly thriller-esque undercurrent, to the extent that audiences will find it tough to anticipate either the jokes or the dark, “Fight Club”-like turn things eventually take — all to strikingly original effect.
  18. Adopt a Highway
    All evidence here suggests that Marshall-Green needs a strong collaborator — or maybe just someone else’s screenplay — the next time he gets behind the camera.
  19. Long Shot
    More creepy than romantic, more chauvinist than empowered — and in all fairness, funnier and more entertaining than any comedy in months — Long Shot serves up the far-fetched wish-fulfillment fantasy of how, for one lucky underdog, pursuing your first love could wind up making you first man.
  20. The Beach Bum
    Simultaneously shaggy and hyper-stylized, The Beach Bum plays like a less-coked-out “Scarface,” the collected works of Charles Bukowski, and a Cheech & Chong movie all rolled up in one — an epic goof in which the cast (not just McConaughey but Snoop Dogg, Martin Lawrence, Jonah Hill, and Jimmy Buffett) play elaborate, semi-improvised caricatures of outlandish tropical fruits.
  21. Sword of Trust
    The considerable pleasure of Lynn Shelton’s latest “Sword of Trust” is that everyone onscreen is so good at this kind of [improv] work that one wishes more tightly scripted comedy screenplays had such savory dialogue, or inspired character conceptions.
  22. Us
    Terrifying...The less you know going in — and the less energy you spend thinking about it after the fact — the better the movie works, trading on some uncanny combination of Peele’s imagination and our own to suggest a horror infinitely larger and more insidious than the film is capable of representing.
  23. The Wind
    Horror hounds may find themselves getting a little impatient with “The Wind,” especially when Tammi begins on such an unflinchingly nasty note ... but then elects to keep the gore to a minimum until the grisly climax. The film is much more successful, however, as a feminized reworking of the western mythos.
  24. One Child Nation
    Simultaneously intimate and far-reaching, the film does far more than scratch the surface, forcing audiences to confront a policy that, amid concerns over population growth in other corners of the globe, begs to be better understood before another country seeks to repeat it.
  25. The Sound of Silence
    The Sound of Silence is a deeply silly movie that takes itself incredibly seriously, and believe it or not, that’s its great pleasure.
  26. Maya
    This is the first stumble in Hansen-Løve’s hitherto impressive filmography — the kind of directorial misstep that at least makes it clear how deft her footwork usually is.
  27. Driveways
    That uncommon and all-too-welcome gift — like some kind of fragile wildflower, emerging tentatively through cracks in the concrete: a film about kindness.
  28. The Sower
    The resulting film is so delicately wrought and exquisitely visualized that the harsher, eerier details of Ailhaud’s account stand out all the more strikingly, like a shot of vinegar in a pristine crème caramel.
  29. The Kid
    A consistently involving and often exciting drama in which the two Wild West icons are presented from the p.o.v. of an impressionable adolescent who weighs the pros and cons of each man as a role model.
  30. Triple Frontier
    There’s a dullness at the core of Triple Frontier.
    • 80 Metascore
    • 90 Critic Score
    Babylon
    Like the reggae music that pulses through it, Babylon is rich, rough and real. And like the streetlife of the young black Londoners it portrays, it’s threatening, touching, violent and funny. This one seems to explode in the gut with a powerful mix of pain and pleasure.
  32. Captain Marvel
    Boden and Fleck are low-key American neorealists, and in Captain Marvel they barely retain a vestige of their signature style. Yet they have brought off something exciting, embracing the Marvel house style and, within that, crafting a tale with enough tricks and moods and sleight-of-hand layers to keep us honestly absorbed.
  33. The Wedding Guest
    What’s lacking is personality from the human characters, which is a serious failing, considering how the film shifts into character mode as Apte slowly emerges as an equal to Patel, while both remain too guarded for audiences to fully appreciate as people.
  34. Giant Little Ones
    The story is somewhat predictable in its beats, and arrives at a free-at-last conclusion that’s not entirely convincing. But the Sault Ste. Marie-shot film is ultimately ingratiating and slickly crafted enough to rise above those limitations.
  35. Tyler Perry's A Madea Family Funeral
    A Madea Family Funeral isn’t good, exactly, but it’s Perry good. It combines weaponized comedy and sexualized soap opera in a way that defuses all shame.
  36. Something
    Something has a few observations to make about the perils of contemporary parenthood, but instead of whipping them into tension it douses them in catch-as-catch-can thriller vagueness.
  37. Duke
    The film sustains more than enough dramatic tension from scene to scene to keep a viewer intrigued, despite the sporadic fuzziness of motivation and plot specifics.
  38. Saint Judy
    Monaghan radiates a winning measure of defiant resilience and dignity, even when she and her illustrious co-stars are reduced to mouthpieces for political sentiments (as in Common’s censure of ICE) — which is depressingly often.
  39. The Cannibal Club
    Guto Parente’s eighth feature is a mixed bag: a diverting, stylish, but ultimately rather trite satire whose social critique and grand guignol aspects never quite come to a full boil.
  40. Greta
    Falls squarely in B movie territory but, by virtue of its two lead performers, winds up being far more enjoyable than it has any right to be.
  41. The Wandering Earth
    Director Frant Gwo’s adaptation of the 2000 novella by Liu Cixin is no genre classic, but its furious pace, spectacular visuals, and fanciful plot deliver decent escapist entertainment.
  42. The Iron Orchard
    The narrative itself, however, is not without its bumpy stretches. The Iron Orchard is satisfyingly involving and entertaining as a whole — call it “Giant Lite” and you won’t be far off the mark — and the performances are sufficiently compelling to ease a viewer through some abrupt and elliptical transitions.
  43. Hail Satan?
    The Satanic Temple’s combination of shock tactics and anti-discrimination lawsuits is check-and-mate against America creeping towards a Christian theocracy.
  44. Mega Time Squad
    Fast-paced, determinedly silly, with sharp slangy dialogue and funny situations (particularly once we arrive at the ace sight gag of a half-dozen Johns stirring chaos), the film hits just the right absurdist notes to sustain its joke.
  45. The Aftermath
    The result is attractive and diverting, as any well-appointed film starring these actors in mouthwatering period finery could hardly fail to be — though for a story about people rebuilding their lives through grievous personal loss and moral torment, it’s hard not to wonder if its vast reserves of enviable knitwear are counting for more than they should.
  46. So Long, My Son
    Utterly wrenching.
  47. The Brink
    The Brink is an impeccably crafted verité ramble — an engaging and enraging, disturbing and highly revealing movie.
  48. Temblores
    This strong second feature from Guatemalan talent Jayro Bustamante doesn’t ask new questions, but its sensuous, reverberating atmospherics find fresh, angry ways to answer them.
  49. Varda by Agnès
    Slight as a Varda film, but shot through with its maker’s characteristic pluck and whimsy, Varda by Agnès gives her newly recruited fans everything they’ve come to see.
  50. Synonyms
    Breathtaking in the way it careens from one scene to the next in a whirlwind of personal and political meaning all but impossible to grasp in full measure, the film is an excoriation of Israel’s militant machismo and a self-teasing parody of Parisian stereotypes, embodied by actor Tom Mercier in this astonishingly audacious debut.
  51. The Plagiarists
    Wilfully student-video amateurish in form, but impishly sophisticated in content, a gleeful cultural curiosity fairly crackles off The Plagiarists, and it is highly contagious.
  52. Piranhas
    To watch young people fall into old patterns is still to watch those old patterns, and the film cannot escape the familiarity of its archetypal, rise-to-power, fall-from-grace narrative.
  53. Out Stealing Horses
    This is a film with a mature, heartbroken understanding of how we hold onto things.
  54. The Operative
    A proficient but unsurprising espionage thriller from Israeli writer-director Yuval Adler that offers another well-fitted showcase for Diane Kruger’s stern resolve as a performer.
  55. Mr. Jones
    As drama, Mr. Jones sometimes struggles to get out of its own way, but its message still lands with concrete force.
  56. Light of My Life
    Scene for scene, Affleck does a decent job of directing — his touch is soft, intimate, humane — but he has saddled himself with a script that isn’t entirely there.
  57. The Kindness of Strangers
    Too much of the kindness in “Strangers” feels sentimentally story-dictated rather than born of profound human observation, leaving you with mild, woolly good feeling but little to contemplate or chew on.
  58. I Was at Home, But
    I Was at Home, But… works as a mood piece in the truest sense of the term: once you stop trying to logically assemble the narrative and submit instead to its clashing, enveloping currents of feeling, they form a persuasive story of their own.
  59. Gully Boy
    A Bollywood movie about a rapper from the slums may sound derivative, but what does that matter when “Gully Boy” revels in high-wattage screen chemistry and an inclusive social message, all served up in a slickly enjoyable production showcasing Ranveer Singh’s many charms?
  60. The Golden Glove
    The Golden Glove may not celebrate its subject, but the intimate examination it offers him is itself a privilege — one for which this ugly, unenquiring film scarcely makes a case.
  61. God Exists, Her Name Is Petrunija
    God Exists, Her Name is Petrunya positions itself as a feminist cry against a patriarchal Macedonia in the grips of bullying machismo and hidebound religion, yet the genial rushed ending undercuts its gender-equality thrust by presenting Petrunya’s emotional savior as a mustachioed guy in uniform.
  62. Ghost Town Anthology
    Mysteries remain mysteries, and the value isn’t in finding answers but in emotionally exploring where the questions take you.
  63. Elisa & Marcela
    A dully made, frequently ridiculous eye-roller shot in standard issue black-and-white that gussies itself up as a brave clarion call for gay rights.
  64. By the Grace of God
    That the film works as stirringly as it does is largely because of that brash, heart-on-sleeve engagement with its characters’ messy, unfinished feelings, not to mention Ozon’s canny knack for playing on French star personae.
  65. TT3D: Closer to the Edge
    Even the most racing-averse auds will have to agree this entertaining whiz around the 2010 Isle of Man TT racing event puts across the thrill of the sport.
  66. The Maestro
    By consigning its most interesting character to a supporting role, this amiable slice of fictionalized history loses a good deal of its heft. Nonetheless, solid direction and a charming Berkeley turn help it stave off insubstantiality.
  67. Patrick
    Though the narrative tends to be a touch too simplistic for most grown-ups, and lacks enough riotous dog action for the little ones, there’s enough bite to make things worthwhile for those who just want to enjoy a sweet, wholesome dog movie.
  68. Berlin, I Love You
    By and large, the film feels aimless and uninspired.
  69. Light From Light
    Neither thriller nor sentimental whimsy, Paul Harrill’s second feature (following 2014’s equally low-key “Something, Anything”) is a quietly matter-of-fact drama that utilizes a “haunting” story hook for non-religious yet affirming ends.
  70. Happy Death Day 2U
    Happy Death Day 2U is more complicated than the first “Happy Death Day,” but in this case more complicated means less fun.
  71. Isn't It Romantic
    While there’s virtually no risk that “Isn’t It Romantic” will make you to love your favorite rom-coms any less, Strauss-Schulson hasn’t figured out how to have his cake and eat it, too — to look down on the very confection he’s so busy peddling.
  72. The Amityville Murders
    The gap between good intentions and effective follow-through is maybe the distinguishing characteristic of this latest “Amityville” movie, which takes itself with admirable seriousness, yet in the end can’t itself be taken very seriously.
  73. Ask Dr. Ruth
    The irony at the core of the Dr. Ruth persona is that the maverick who made the bedroom public is herself incredibly private, and while she encourages women to get intimate with their bodies, she’s not in touch with her own emotions. Still, she is vocal about respecting boundaries, and White acquiesces, trusting that the facts of Westheimer’s life say plenty about her peppy workaholism.
  74. What Men Want
    But the thoughts she overhears don’t, for the most part, have the snap of comic surprise. They just fill in the walking alpha blanks we already know.
  75. The Prodigy
    While it lacks gripping, nail-biting tension, the unnerving horror that underscores the family drama brings it to life.
  76. The Lodge
    There are too many explanations dangled here, to ends somewhat frustratingly contradictory rather than usefully ambiguous.
  77. The Mustang
    It’s a touching and original piece of bare-bones sentimental humanism, and Schoenaerts is terrific in it.
  78. The Gospel of Eureka
    This cheerful small town portrait makes for an idealistic crowd-pleaser (after all, Eureka Springs is the rumored home of healing waters), but this beautiful, and beautifully shot, documentary is a cure for the angry headline blues.
  79. Native Son
    Native Son, after its promising first half, leaves you dispirited, because it’s a movie where hope gets snuffed by a stacked deck.
  80. Blush
    Admirably acted and powered by a loopy internal rhythm, the film nonetheless wears out its welcome long before it’s done inflicting indignities on its heroine, arriving at its main point early and then repeating it again and again.
  81. I Am Mother
    Mostly I Am Mother is exactly what it seems: a good-looking allegory that postures like it’s wrestling with more ideas than it actually is.
  82. The Hole in the Ground
    [Cronin's] trim, jumpy debut feature rewrites no genre rules, but abounds in bristly calling-card atmospherics. ... Only in the film’s muddy-in-all-senses finale — which leaves a few too many dots unjoined, even by forgiving genre standards — does its grip on proceedings slip a notch.
  83. Corporate Animals
    Corporate Animals is a character sketch in search of a plot.
  84. Share
    Share is fragmented and disorienting, though one suspects that confusion is perhaps Bianco’s point.
  85. Little Monsters
    The paradox of "Little Monsters" is that it’s so guileless in its story and execution, it could have been made for kids, except for the disembowelings. Still, Nyong’o not only survives the film with her dignity intact, the audience might exit admiring her more.
  86. Wounds
    Anvari has set out to make a mood piece that succeeds in scaring the audience senseless.
  87. Them That Follow
    In the last act, Poulton and Savage’s long fuse explodes, and they get to prove they’ve made a hell of a picture.
  88. The Sunlit Night
    Here, Wnendt suppresses his naturally provocative streak to deliver an aggressively cute existential comedy instead.
  89. The Souvenir
    Achingly well-observed in its study of a young artist inspired, derailed and finally strengthened by a toxic relationship, it is at once the coming-of-age story of many women and a specific creative manifesto for one of modern British cinema’s most singular writer-directors.
  90. The Report
    Burns, by trusting the audience, has created a darkly authentic political thriller that does exactly what a movie like this one should do. It leaves you chastened and inspired.
  91. Photograph
    For all the complex class politics and bottled-up desires at play in its narrative, Batra’s film is perhaps a shade too timid for its own good; it touches the heart, but hovers just short of the soul.
  92. Paddleton
    A movie about cancer has no right to be as consistently amusing as Paddleton — a triumph for which credit should be spread around, even if it most deservedly goes to Ray Romano.
  93. Official Secrets
    The crux of Gun’s struggle is that she risked everything to tell the truth, and the war happened anyway. Ultimately, her personal story was neither uplifting, nor tragic, which means the film surrounding her doesn’t hurtle toward a satisfying arc.
  94. Midnight Family
    Portraits of institutional dysfunction don’t come much more urgent, and quietly bleak, than this.
  95. Luce
    The film is sleek and shadowy, benefiting from the fact Onah chose to shoot on celluloid and driven by stellar performances across the board.
  96. Late Night
    The film wants to be a puckish media satire and an earnest workplace dramedy about “growing,” and the fusion doesn’t always gel.
  97. The Last Black Man in San Francisco
    While Talbot and Fails claim to have walk-and-talked their way all over San Francisco, the script — and especially the dialogue — is the most disappointing element of their first feature.
  98. Knock Down the House
    Knock Down the House has a clear political agenda. It wants to promote the hard work, courage and progressive policies of these women, who have all experienced financial hardship. Still, the film lets its subjects do the talking instead of cluttering things with statistics.
  99. Honey Boy
    Ask yourself: Just how curious are you to understand the source of Shia LaBeouf’s insecurities and rage? If this is a subject of high importance to you, then you’re in luck, because Honey Boy offers a sincere window into the actor’s soul: a vulnerable, honest (or at least honest-seeming) act of therapy through screenwriting
  100. Hala
    Writer-director Baig has made a coming-of-age charmer that’s adamantly ordinary. Her script has the melody of John Hughes and early Amy Heckerling played with a few minor chords.
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