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. Zero Days
    Clear, urgent and positively terrifying at times.
  2. Raw
    Raw is a deliciously fevered stew of nightmare fuel that hangs together with a breezily confident sense of superior craft.
  3. Wolf and Sheep
    More compelling on a visual level than a narrative one.
  4. Albüm
    Turkish writer-director Mehmet Can Mertoğlu’s substantial debut feature can’t suppress a sneer at the very 21st-century practice of exhaustive yet evasively filtered self-documentation. That’s hardly the only modern malady under fire in this elegantly opaque social satire, which touches on bureaucratic ineptitude, class conflict and very questionable parenting.
  5. Mimosas
    Those familiar with the ethnographic works of Ben Rivers (who gets a thanks in the closing credits) and the films of Argentine director Lisandro Alonso (“Jauja”) will find much to admire in the movie’s combination of spiritual musings and stunning landscapes.
  6. The Happiest Day in the Life of Olli Mäki
    Kuosmanen’s unassuming yet immaculate command of tone and form here would impress at any stage of his career, but it’s entirely remarkable in a first feature.
  7. Divines
    In her aces debut feature Divines, Houda Benyamina has what ought to be a career-making film on her hands.
  8. Kinatay
    Mendoza strengthens his gift for describing space with inquisitive cameras, but as the helmer’s star rises, his subtlety wanes, resulting in obvious statements made banal by heavy-handed ironies.
  9. Hands of Stone
    Gets the job done, but it’s hard to escape the feeling that you’re watching a routinely conceived, rather generic boxing flick. It’s utterly competent, yet it makes Duran’s story seem a little so-what?
  10. Graduation
    As expected from a master like Mungiu, everything is beautifully structured and utterly credible, yet Graduation feels like a retread.
  11. Endless Poetry
    Make no mistake: Endless Poetry is still very much a Jodorowsky film, dotted with his trademark phantasmagorical conceits, which are like candified bursts of comic-book magic realism. Yet more than any previous Jodorowsky opus, it’s also a work of disciplined and touching emotional resonance.
  12. Elle
    Knowingly incendiary but remarkably cool-headed, and built around yet another of Isabelle Huppert’s staggering psychological dissections, Paul Verhoeven’s long-awaited return to notional genre filmmaking pulls off a breathtaking bait-and-switch: Audiences arriving for a lurid slab of arthouse exploitation will be taken off-guard by the complex, compassionate, often corrosively funny examination of unconventional desires that awaits them.
  13. Dog Eat Dog
    That’s not to say Dog Eat Dog is bereft of interesting choices. Far from it, though its infrequent bursts of gonzo brilliance are all in service of such an uninteresting premise.
  14. Clash
    Boasting superb camerawork from d.p. Ahmed Gabr and stellar crowd direction, Clash might strike some as crossing too often into hysteria, yet this is bravura filmmaking with a kick-in-the-gut message about chaos and cruelty (with some humanity).
  15. Blood Father
    Blood Father is trash, but it does capture what an accomplished and winning actor Mel Gibson can be. Just because he lost his bearings, and his career, doesn’t mean that he lost his talent.
  16. After the Storm
    Such is the finesse of Kore-eda’s script that it builds to neither the vehement confrontation nor the comforting reconciliation that melodrama decrees. Instead, it imparts those rare, liberating moments when characters revert to their most honest selves and pluck up the courage to express their deepest, albeit unattainable wishes.
  17. Two Lovers and a Bear
    Somehow, in the final stretch, Nguyen has transformed what felt like a relatively generic, un-special indie love story into something totally unpredictable, taking full advantage of the gorgeous widescreen lensing to convey the atmosphere and magic of his locations.
  18. The Student
    The Student is a film that never stops to think; it thinks (and speaks, and shouts) while prodigiously on the move.
  19. Staying Vertical
    The technical bravura that Guiraudie summoned in “Stranger” — the subtle manipulation of light, weather, shot language, and temporal cunning — now falls by the wayside in a story that lurches from episode to disconnected episode.
  20. Slack Bay
    None of it seems to make much sense, though it’s clear that the absurdity is no accident.
  21. Sieranevada
    [Puiu] manages to weave a tapestry — or family quilt, if you will — in which deception and the hopeless search for truth is judged both on the micro level (as in extramarital affairs) and a more global scale (which is where questions of Romania’s Communist past, 9/11 and Charlie Hebdo fit into the picture), and where disturbances in either sphere ripple out into the world at large.
  22. The Salesman
    For a healthy stretch, The Salesman is even more low-key, minimal, and contained than the earlier Farhadi films. Yet the writer-director’s technique is just as assured as before. Every shot is in place, every line leading to an outcome that feels quietly up for grabs.
  23. Risk
    Running a short 84 minutes, Risk offers considerable insights into Assange, but seems to omit as much as it reveals.
  24. The Red Turtle
    Michael Dudok de Wit’s hypnotizing, entirely dialogue-free The Red Turtle is a fable so simple, so pure, it feels as if it has existed for hundreds of years, like a brilliant shard of sea glass rendered smooth and elegant through generations of retelling.
  25. Paterson
    Paterson, Jarmusch’s wee dramatic curio starring Adam Driver as a New Jersey bus driver – his name is Paterson, and he lives in Paterson — is a movie that’s all too aware of how much it diverges from contemporary tempo. That’s because the entire film is a self-conscious anachronism.
  26. Neruda
    Surprises always come at the end of Pablo Larraín’s films, when everything suddenly comes together and the audience sits in the cinema feeling both illuminated and floored. Neruda is no different, representing the director at his stunning best with a work of such cleverness and beauty, alongside such power, that it’s hard to know how to parcel out praise.
  27. The Last Face
    The Last Face would have been a better movie if it had an actual screenplay, rather than the bare-bones one credited to Erin Dignam.
  28. Ma' Rosa
    As in most of the director’s repertoire, he portrays working class family relations with unpretentious warmth. Boasting a simple, coherent plot shot with real-time, handheld verismo, it’s a work of understated confidence.
  29. I, Daniel Blake
    I, Daniel Blake is one of Loach’s finest films, a drama of tender devastation that tells its story with an unblinking neorealist simplicity that goes right back to the plainspoken purity of Vittorio De Sica.
  30. The Handmaiden
    It’s sybaritic, cruel and luridly mesmerizing.
  31. Gimme Danger
    Gimme Danger has an ironic tone for a Stooges portrait: dutiful and engrossing, but not electric or crazy.
  32. From the Land of the Moon
    Of course, Cotillard is your first call if you want an actress to suffer exquisitely, but the issue is her character Gabrielle is essentially a nightmare of self-involvement, whose emotional torture is very difficult to get invested in since she herself has already bought all the shares.
  33. Aquarius
    Aquarius is a character study as well as a shrewd meditation on the needless transience of place and the way physical space elides with our identity.
  34. It's Only the End of the World
    Here, in cinema’s most unpleasant genre (the dysfunctional family gathering), Dolan has found a way to exasperate and exhaust his audience, but he has also achieved a completely unexpected catharsis at the end of an agonizing hour and a half.
  35. Hell or High Water
    Hell or High Water is a thrillingly good movie — a crackerjack drama of crime, fear, and brotherly love set in a sun-roasted, deceptively sleepy West Texas that feels completely exotic for being so authentic.
  36. Personal Shopper
    This reunion between Kristen Stewart and the director who gave her one of her best-ever roles in 2014’s “Clouds of Sils Maria” is a broken, but never boring mix of spine-tingling horror story, dreary workplace drama and elliptical identity search, likely to go down as one of the most divisive films of Stewart’s career.
  37. American Honey
    Part dreamy millennial picaresque, part distorted tapestry of Americana and part exquisitely illustrated iTunes musical, “Honey” daringly commits only to the loosest of narratives across its luxurious 162-minute running time. Yet it’s constantly, engrossingly active, spinning and sparking and exploding in cycles like a Fourth of July Catherine wheel.
  38. Loving
    Nichols’ film is seemingly less interested in its own glory than in representing what’s right, and though it features two of the best American performances of the past several years, from Joel Edgerton and Ruth Negga (neither of whom are American, hailing from Australia and Ethiopia, respectively), its emotional impact derives precisely from how understated they are.
  39. The Neon Demon
    The Neon Demon is a tease. It starts off as a relatively scannable, user-friendly thriller, but it turns out to be a movie made by a macabre surrealist gross-out prankster.
  40. Margarita with a Straw
    Overall, Margarita, With a Straw is an unexpected delight of charm and substance.
  41. The Unknown Girl
    Though what we get is largely exemplary: a simple but urgent objective threaded with needling observations of social imbalance, a camera that gazes with steady intent into story-bearing faces, and an especially riveting example of one in their gifted, toughly tranquil leading lady Adèle Haenel. What’s missing...is any great sense of narrative or emotional surprise.
  42. Toni Erdmann
    The film takes precisely as much time as it needs for its muddled, maddeningly human characters, played with extraordinary courage and invention by Peter Simonischek and Sandra Hüller, to find their way into each other, and so into themselves.
  43. Paths of the Soul
    Filmed in simple documentary fashion and performed with immaculate conviction by a non-professional cast, the pic, helmed by Zhang Yang (“Shower,” “Getting Home”) is a stirring study in faith and spirituality that will inspire many viewers to think about big and small questions of life.
  44. Pervert Park
    The documentary broadens well beyond a portrait of this particular facility to address the underlying causes of these crimes and to question how society might more constructively deal with the issues, where offering counseling to abuse victims becomes as important as, if not more so than, persecuting their abusers.
  45. Nuts!
    This now-obscure historical chapter can’t help but be silly in the retelling, and Lane surrenders whole to that silliness.
  46. The Darkness
    At some point in the production process, co-writer/director Greg McLean must have believed he was making John Cassavetes’ “Poltergeist,” but this odd fusion of psychodrama and supernatural hokum gets away from him.
  47. Journey to the Shore
    Fans of Kurosawa’s earlier psycho-thrillers may desire more eeriness and visual panache, but those who’ve accepted the helmer’s conscious change of tune and pace should be gently touched.
  48. Kill Zone 2
    Helmer Cheang and action director Li Chung Chi offer an impressive array of rock-’em-sock-’em setpieces — including a battle royale at a cruise ship terminal, and grand finale in a Hong Kong high-rise — and the performances, especially those by Wu, Koo and Zhang, are thoroughly attuned to the movie’s overall tone of fever-pitched martial-arts noir melodrama.
  49. ma ma
    Julio Medem’s film is a smiling-through-tears saga whose generally tasteful execution can’t ultimately salvage a whopping load of maudlin contrivance, all designed to burnish the halo around St. Penelope.
  50. The Other Side
    Whereas Minervini’s previous pics seemed to radiate a warm empathy toward his subjects — perhaps merely a manifestation of his open-minded curiosity toward the extreme cultural difference he found peering into the less explored corners of Southern culture — The Other Side feels far more shocking in its portrayal.
  51. Kaili Blues
    Led by performances imbued with barely concealed sorrow, regret and longing to come to terms with that which has been lost, Kaili Blues affords a view of people, and a nation, caught in between a haunting yesterday and — as implied by the film’s conclusion — a hopeful tomorrow.
  52. Almost Holy
    Hoover’s style seems equally fit for a bleak documentary, suspenseful thriller, black comedy, dystopian sci-fi nightmare and grisly horror film.
  53. The Nice Guys
    The Nice Guys is an ultra-violent burlesque, the sort of cheerfully hostile buddy bash that’s been a staple since the ’80s, only this one is singularly clever about its own triviality, and it offers the scruffy pleasure of seeing two great actors dial down their gravitas with style.
  54. The BFG
    No matter how fantastical the tale (and it gets pretty out-there at points), this splendid Steven Spielberg-directed adaptation makes it possible for audiences of all ages to wrap their heads around one of the unlikeliest friendships in cinema history, resulting in the sort of instant family classic “human beans” once relied upon Disney to deliver.
  55. Divine Access
    None of Jack’s relationships are handled with enough conviction to make them stick, and that carries over to a religious message that’s squishy in the extreme. “Agreeable” is a good quality, but it should never be the best quality a film possesses.
  56. Under the Gun
    It’s not necessarily artful, but it’s also never less than compelling. If anything, Soechtig has only refined her skills at packaging a slick, audience-friendly documentary with a subject that feels even more urgent.
  57. Search Party
    As it stands, there are only enough comic ideas here, most of them bad ones, to reach 82 minutes; the other 11 are taken up by a postscript scene, a blooper, and closing credits that move, in the words of Scarlett O’Hara, as slow as molasses in January.
  58. Money Monster
    As an indictment of Wall Street chicanery, it’s largely toothless; as a pure thriller, it only quickens the pulse once or twice; as a conspiracy saga, its central mystery falls flat. Yet somehow the film hangs together surprisingly well.
  59. The Innocents
    Hope and horror are commingled to quietly moving effect in Agnus Dei, a restrained but cumulatively powerful French-Polish drama about the various crises of faith that emerge when a house of God is ravaged by war.
  60. Café Society
    The movie, watchable as it is, never quite overcomes the sense that it’s a lavish diagram working hard to come off as a real movie.
  61. Alice Through the Looking Glass
    The problem with “Alice” is its lack of narrative imagination.
  62. X-Men: Apocalypse
    Although the X-Men ensembles are usually large, there are simply too many characters for the action-heavy “Apocalypse” to properly juggle.
  63. Tickled
    An alarming cautionary tale about how easy it is in the Internet age to ruin people’s lives while hiding behind a cloak of anonymity, the pic boasts a humorously titillating entry hook that soon gives way to engrossing conspiracy-thriller-like content.
  64. A Monster with a Thousand Heads
    Tempering the strong medicine of its social-justice protestations with a streak of outlandish melodrama, this “Monster” may not have quite as many facets as its title implies, but Pla’s formally deft manipulation of perspective keeps the pic both urgent and even-handed.
  65. The Angry Birds Movie
    A fast, fizzy and frenetically entertaining extension of the manic gaming franchise.
  66. Bridgend
    Even when the director pushes too far...the film’s formal severity feels appropriately claustrophobic — another form of authority closing in on the light.
  67. Mad Tiger
    This aptly colorful documentary doesn’t provide all that much insight into the act’s history, and the human conflicts aren’t fully illuminated, either. But it’s fun entering these performers’ universe even with a less than all-access pass.
  68. Viva
    Viva appealingly makes up for a coy approach with gutsy, grabby follow-through on the high notes.
  69. Our Kind of Traitor
    The shattering of one’s noble ideals is a delicate thing to capture on film, and White plays the moment of rupture with a banality that threatens to undermine our faith in her as storyteller more than in the system itself.
  70. Neighbors 2: Sorority Rising
    The film has a knowingly conflicted engagement with millennial-generation feminism that freshens its outlook even as it unevenly rejigs many of its predecessor’s gags. Still, while a subtly clawed Chloë Grace Moretz proves a worthy new foil, it’s Zac Efron’s tragicomic anatomy of a dudebro that remains this series’ sharpest asset.
  71. Being Charlie
    Being Charlie is far from a home run, but it’s the kind of solidly struck single after a string of strikeouts that can be just the thing to help set a veteran back on track.
  72. Sin Alas
    A sensual, brainy, immersive experience that could invite plenty of festival love and attention for its first-time writer-director.
  73. The Take
    It’s Watkins’ lean, keen instinct for choreographing and cutting action set pieces that keeps Bastille Day afloat.
  74. Fassbinder: To Love Without Demands
    Students of the astonishing body of films won’t find much that enhances their understanding, yet Thomsen’s footage offers more than mere scraps from a great career, and deserves inclusion in the corpus.
  75. Papa: Hemingway in Cuba
    Disappointingly plodding and ham-fistedly obvious in its attempts to offer an up-close and personal portrait of a mood-swinging, self-loathing 59-year-old Ernest Hemingway.
  76. A Beautiful Planet
    Short of putting Emmanuel Lubezki through astronaut training, it’s difficult to imagine more rapturously beautiful images of the Earth from orbit than those supplied by A Beautiful Planet, the latest collaboration between Imax and NASA.
  77. Ratchet & Clank
    Whether or not they’re familiar with the source property, kids are unlikely to be bothered: There’s just enough blaring sound and color to this knowingly silly tale of interplanetary derring-do to adequately offset its impersonal corporate sheen.
  78. Mother's Day
    Atrociously written, begrudgingly acted, haphazardly assembled and never more backward than when it thinks it’s being progressive.
  79. L'Attesa (The Wait)
    Benefiting enormously from its evocative Sicilian setting, this widescreen experience makes bewitching use of space, time and sound, creating an almost meditative atmosphere in which patient-minded auds might respond to its themes.
  80. Special Correspondents
    Gervais’ tale is primarily consumed with middle-of-the-road squabbling between its headliners, whose yin-yang chemistry never results in more than a few chuckle-worthy bon mots.
  81. Sworn Virgin
    [A] sensitive, deliberate debut feature.
  82. Sleeping Giant
    Cividino depicts the tricky male power games between the boys with tact and compassionate impartiality.
  83. A Hologram for the King
    A Hologram for the King arrives at its feel-good conclusion honestly enough, but its cultural engagement feels tentative, even secondhand: The movie conjures no shortage of potent images, but push a bit deeper and your fist closes on empty air.
  84. Elvis & Nixon
    While its sense of humor takes some gettin’ used to, the sheer spaciness of Liza Johnson’s stranger-than-fiction political satire ultimately proves its greatest asset.
  85. King Cobra
    King Cobra is all smut and no soul, a tacky, superficially titillating reunion between Franco and “I Am Michael” director Justin Kelly.
  86. Nina
    Even when not fighting with her makeup, Saldana’s Simone rarely feels fully formed.
  87. How to Let Go of the World and Love All the Things Climate Can't Change
    An environmental documentary that consists of roughly one-third doom-and-gloom to two-thirds wide-eyed optimism, and that is more potent in individual scenes than it is as a sprawling whole.
  88. Wedding Doll
    Though the darker tonal shift toward the end is a bit jarring, director/scenarist Gilady demonstrates a deft, confident hand with the storytelling, cast and general packaging, and makes assertive use of the dramatic desert setting.
  89. Captain America: Civil War
    This chronicle of an epic clash between two equally noble factions, led by Captain America and Iron Man, proves as remarkable for its dramatic coherence and thematic unity as for its dizzyingly inventive action sequences.
  90. Chongqing Hot Pot
    “Hot Pot” loses focus with sloppy sentimentality and heavy-duty violence that dilutes the story’s early charm. The end result is entertaining enough if not particularly memorable.
  91. The First Monday in May
    Detailing the eight-month build-up to the show’s debut, First Monday in May is most compelling when simply taking up residence alongside Bolton, Wintour and Wong as they oversee the myriad aspects of their production.
  92. An Eye for Beauty
    An almost bizarrely limp, emotionless, blank greeting card of a movie, this purported romantic comedy-drama contains little of the three, at best serving as a sort of extended L.L. Bean advertisement, full of fabulously shot footage of Eastern Canadian vistas and the well-dressed rustic yuppies who live there.
  93. Colonia
    The leads are given the thankless task of maintaining grim poker faces through scene after scene of high contrivance and cliche-ridden dialogue.
  94. Above and Below
    At nearly two hours, the film might strike some as overlong, and yet the edit finds so many masterful connections en route to its exhilarating climax that it’s easy to fall under the pic’s hypnotic spell.
  95. 13 Cameras
    Zarcoff does a good job building tension.
  96. Hush
    Siegel’s likable perf keeps the audience on her side and highlights Maddie’s knack for thinking on her feet. Gallagher is even better as the mysteriously motivated antagonist.
  97. Florence Foster Jenkins
    Florence Foster Jenkins is an audience picture first and foremost: one wholly sympathetic to its eponymous subject’s delusional drive to delight crowds with or without the requisite artistry.
  98. Barbershop: The Next Cut
    The movie derives its energy almost entirely from the bristling quality of the dialogue and the easy ensemble flow of the performances.
  99. Last Cab to Darwin
    It’s not so much the destination but the physical and emotional journey embarked on in this thoughtful, culturally authentic road trip.
  100. Julieta
    While Julieta represents a welcome return to the female-centric storytelling that has earned Almodovar his greatest acclaim, it is far from this reformed renegade’s strongest or most entertaining work.
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