Variety's Scores

Select another publication »
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
view
per page
  1. One & Two
    There are simply too many loose ends to distract us, and too much empty air in which audiences can’t help but poke holes.
  2. The Iron Ministry
    While cerebral in intent and planning, the pic doesn’t feel overly straitjacketed by theory and offers unexpected moments of amusement.
  3. Being Evel
    An exercise in hero worship that doesn’t shy away from its subject’s least admirable traits, “Being Evel” attempts to deliver a complex portrait of a man who preferred to be seen as a self-styled myth
  4. The Boy
    So little happens in The Boy, and so little suspense is effectively built around its central figure, that by the time things finally do heat up the movie has flatlined too completely for us to care.
  5. Sinister 2
    A retread of such brainless, shameless lameness that it’s hard to imagine anyone begging for another installment.
  6. Hitman: Agent 47
    Insofar as Hitman: Agent 47 is about anything, really, it’s about the pleasures of being on location — from the gratuitous image of Ware taking a dip in a five-star-hotel swimming pool to the sight of Singapore’s staggering Gardens by the Bay.
  7. The Second Mother
    The script is executed with enough naturalism to ward off complaints of contrivance — all the way up to a tidy, but quite satisfying, denouement.
  8. American Ultra
    Too often plays like an earnest yet unsatisfying adaptation of a cult graphic novel, with most of the charm lost in translation.
  9. Learning to Drive
    It’s no stretch for Kingsley to project stiff dignity and forthrightness, but that familiarity works against him here, despite his every effort to give the character a human pulse. Clarkson, expert at bringing authenticity to the most inauthentic material, gets to show far more range.
  10. Guidance
    The modest pic’s laughs get bigger as it goes along, and so does its surprising warmth.
  11. Paulette
    Politics aside, however, the movie delivers on the inspiration of its premise, featuring just the sort of laughs one hopes for.
  12. Air
    This first feature for videogame designer/writer Christian Cantamessa has an intriguing premise and two capable stars, none of which is utilized as memorably as one might hope.
  13. Big Sky
    Evan M. Wiener’s screenplay throws in too many disparate elements without developing any of them very effectively, while Grau’s direction is slick but unable to provide the tension or consistency needed.
  14. Return to Sender
    A queasy but strangely gutless exploitation pic.
  15. Dragon Ball Z: Resurrection 'F'
    A strictly members-only entertainment for a dedicated target audience, Dragon Ball Z: Resurrection ‘F’ will impress the uninitiated as very loud and very colorful, but not nearly fast-paced enough.
  16. Amnesiac
    Helmer Michael Polish and his spouse-star, Kate Bosworth, were reportedly attracted to the project for the change-of-pace role it afforded her. But even beyond its sketchy screenplay, the pic’s main problem is that Bosworth lacks the villainous authority required to make Mike Le and Amy Kolquist’s tricky if undercooked screenplay work.
  17. Final Girl
    A mildly intriguing thriller of comeuppance that leaves you wanting more — not more archly stylized violence or repetitive revenge fantasy, perhaps, but more insight into the connection between the eponymous assassin (Abigail Breslin) and her highly skilled mentor (Wes Bentley).
  18. Molly Moon and the Incredible Book of Hypnotism
    A chintzy children’s fantasy that summons the powers of suggestion, but falls well short of mesmeric.
  19. We Come as Friends
    A masterfully composed and suitably outraged look at the neocolonialist exploitation of South Sudan.
  20. The Man from U.N.C.L.E.
    Cavill and Hammer have each toplined major tentpoles before, so it’s something of a mystery why neither makes much of an impression here, but there’s a curious vacuum at the center of The Man From U.N.C.L.E. that almost certainly owes to its casting.
  21. Reset
    Reset strings together a series of hit-and-miss ideas that never deliver an “aha!” payoff.
  22. The Falling
    Morley marries a quasi-Victorian premise with a modernist technique that feels drawn from her film’s own milieu.
  23. Sneakerheadz
    The tone throughout Sneakerheadz is mostly light and bright, but the filmmakers don’t stint on anthropological detail, or shy away from the darker aspects of getting kicks by any means necessary.
  24. Fantastic Four
    Ultimately, Fox’s stab at reviving one of its inherited Marvel properties feels less like a blockbuster for this age of comics-oriented tentpoles than it does another also-ran — not an embarrassment, but an experiment that didn’t gel.
  25. The Runner
    The Runner doesn’t lack for drama, but the characters are so thinly and predictably drawn, and the movie’s supposed insights into the art of political compromise so banal, that nothing catches fire.
  26. Paulo Coelho's Best Story
    A dramatically flat and tediously disjointed drama that comes across as a standard-issue, cliche-littered, struggling-writer-finds-fulfillment biopic that has been cut-and-pasted into borderline incoherence.
  27. Northmen: A Viking Saga
    The cast is earnestly committed, and if there are a few too many hokey last-second rescues from certain doom, Northmen nevertheless rarely risks curdling into camp.
  28. A LEGO Brickumentary
    Most of the jokes are real groaners, though the humor is welcome, while shooting select exteriors with tilt-shift lenses (for a miniature-faking effect that makes real-world buildings look like tiny Lego sets) adds another creative touch to the overall package.
  29. Ricki and the Flash
    This is a shaggy, easily distractible film that consistently defies expectations to both charming and baffling effect.
  30. Straight Outta Compton
    If “Compton” is undeniably of the moment, it’s also timeless in its depiction of how artists and writers transform the world around them into angry, profane, vibrant and singular personal expression.
  31. The Seventh Dwarf
    At half the length or twice the budget, this CG-animated musical mash-up of fairy tales would still be a pretty pathetic excuse for children’s entertainment, short on charm and utterly devoid of magic.
  32. The Kindergarten Teacher
    Always engrossing but also perplexing and offering little deeper than the obvious, “Teacher” still reps a new development in a striking, idiosyncratic director.
  33. A Brilliant Young Mind
    Matthews’ background as a documentarian is obvious and beneficial. But Matthews also demonstrates expertise as a director of actors, getting creditable performances across the board.
  34. I Am Chris Farley
    Worth watching for its trove of emotional testimonies from family and friends — including an atypically forthcoming Lorne Michaels and Adam Sandler — the pic is somewhat defanged by its surface-level approach and standard-issue filmmaking style.
  35. Big Significant Things
    It’s as hard for us to get invested in his journey as it is for the film to find a narrative foothold.
  36. 10 Cent Pistol
    Martin’s screenplay is so tricky in the plot-twist and scrambled-chronology departments, there’s little attention left to limn the character depths that might make us more invested in sussing out so many double- and triple-crosses.
  37. Dark Was the Night
    Solid performances help the dramatic aspects achieve at least some of the gravity aimed for, which in turn helps elevate the proceedings a notch above standard horror suspense until the final reel’s requisite violent payoff.
  38. Frank the Bastard
    Coley’s screenplay contains a few witty references and sharp one-liners, but they often work at cross-purposes with the overall narrative drive, drawing scenes out and stretching believability needlessly.
  39. Vacation
    Key to the success of the Vacation movies was their underlying sweetness — the sense that, for all their foibles, the Griswolds were a surprisingly functional lot. Families looked up at the screen and saw a version of themselves reflected back. Look at the new Vacation and all that stares back is a great comic void.
  40. Cop Car
    Watts demonstrates masterful control, pushing right up against the limits of what we can take (even non-parents will be rattled watching the boys mishandling loaded weapons), and yet, at every turn, the screenplay falls short of the picture’s full potential, missing opportunities that could have made this a classic.
  41. Cub
    Jonas Govaerts’ first feature is a pastiche of familiar horror elements that’s well crafted throughout, but falls prey to the common dilemma of finding a payoff worthy of the buildup.
  42. Zipper
    Tawdry but cripplingly self-serious, the second feature from Mora Stephens (a full decade after her little-seen, also politically themed debut “Conventioneers”) benefits from Patrick Wilson’s committed star turn.
  43. Mission: Impossible - Rogue Nation
    At once questioning and reaffirming the pleasures of cinematic espionage, this is the rare sequel that leaves its franchise feeling not exhausted but surprisingly resurgent at 19 years and counting.
  44. The Vatican Tapes
    Silly, screechy and eminently watchable.
  45. A Gay Girl in Damascus: The Amina Profile
    The insights the movie has aren’t exceptional; this stranger-than-fiction series of events is enough.
  46. Five Star
    A low-key but powerfully affecting urban drama that tells a familiar story — of drugs, power and respect on the inner-city streets — with such unusual authenticity and dramatic force that it’s as if we’re seeing it for the first time.
  47. American Heist
    Slick but derivative and forgettable on all levels.
  48. Two Step
    This character-driven picture takes its time marinating in quiet conversations and Austin atmosphere, making the sudden jolts of violence all the more shocking when they land.
  49. The Gift
    Where The Gift toys with our expectations is in its refusal to align itself with any one character or to manufacture obvious heroes and villains.
  50. Pixels
    Where Sandler once exulted in our outrage (and frequently, our laughter), he now seems barely capable of mustering enough effort to carry a scene, let alone advance to level 255 of “Galaga.” There’s no joy left in his shtick.
  51. Samba
    Running a full reel longer than needed, the film’s balance of romance, humor and pathos starts to slip in the final stretch... though the emotional notes ring true.
  52. Lucky Stiff
    Another theater adaptation that remains stuck to the boards, despite the considerable talent and energy on tap..... equal parts diverting and strained, most likely to please the same niche audiences who have given the material a modest stage shelf life for the last quarter-century.
  53. Do I Sound Gay?
    Thorpe’s documentary can sometimes seem a bit intimidated by the various cans of worms it pries open, but it’s nonetheless a breezy, funny, often quite clever film more concerned with minor epiphanies than big answers.
  54. Strangerland
    Too much of Strangerland simply feels dodgy and overdetermined, veering between art-film pretensions and melodramatic gestures, and governed by ambitions that outstrip the filmmakers’ abilities.
  55. Safelight
    A handful of solid performances and some subtle ’70s period detailing are hardly enough to recommend this flat, predictable drama.
  56. Twinsters
    The overriding effect of Twinsters is a sense of pleasure at having borne witness to emotional epiphanies of the most affecting and intimate sort.
  57. A Hard Day
    It’s the nerve-racking situation that faces our hard-luck protag, with its heady black humor, social satire and a touch of surrealism, that keeps audiences on the edge of their seats.
  58. That Sugar Film
    Fast-paced, entertaining and informative.
  59. Stung
    In a movie that should have gone for funnier or scarier (ideally both), there’s way too much eventual emphasis on the leads’ uninspired evolving romance.
  60. Drunk Stoned Brilliant Dead: The Story of the National Lampoon
    A generous and briskly entertaining doc.
  61. The Suicide Theory
    An oddball male weepie whose curious mixture of sweetness and sadism is well anchored by two solid, character-rich lead performances.
  62. Jenny's Wedding
    While the fine cast teases out glimmers of nuance here and there, Mary Agnes Donoghue’s film plays like a series of hand-holding growth exercises for closed-minded conservatives, and relies too heavily on its tying-the-knot finale for both dramatic momentum and emotional closure.
  63. Lila & Eve
    Although Davis’ performance is so good here, it’s tough to know where the real world ends and the vendetta fantasy begins.
  64. Mala Mala
    Beginning as a colorful documentary about the Puerto Rican transgender community, candidly showcasing nine very different subjects, Mala Mala slowly morphs into a celebration of solidarity and collective activism without ever losing sight of its likable protagonists.
  65. A Poem Is a Naked Person
    Even the less immediately engaging material here helps build an uncannily cohesive snapshot of a very specific time and place, and the past decades have only given it a bittersweet edge.
  66. Jellyfish Eyes
    By second-guessing what audiences want, Murakami falls into the same trap studios do when trying to appease mass tastes, delivering a film that features many of his familiar designs and characters but precious little in the way of personal vision.
  67. Stray Dog
    Though Stray Dog is slowly paced and at times a bit repetitive, Granik and her crew rarely risk losing their audience’s attention, and they uncover a wealth of images that are alternately striking, symbolic and singular.
  68. Partisan
    Casting Cassel as a ruthless villain might seem like a cliche, but Kleiman uses him counterintuitively, locating an avuncular, calming quality in the actor.
  69. Güeros
    The personalities here feel genuine, as if a group of friends had banded together to make a movie just a few degrees removed from their real lives — a la “Clerks” or “Swingers,” though not nearly as conceptual, plot-wise.
  70. Hippocrates: Diary of a French Doctor
    While the story arc of Hippocrates is not especially remarkable, the film works best in its depiction of life in the bowels of the hospital, which the public never visits.
  71. The Gallows
    The Gallows isn’t without a certain amount of atmosphere, it simply feels borrowed wholesale. That would matter less with a better script, but the four main characters are paper-thin even by genre norms.
  72. Runoff
    The universal theme of personal principle vs. human necessity gets a workout in languid but inexorably powerful morality play, Runoff.
  73. Ant-Man
    Reed’s movie succeeds well enough as a genial diversion and sometimes a delightful one, predicated on the rarely heeded Hollywood wisdom that less really can be more.
  74. What We Did on Our Holiday
    Re-creating the show’s winning formula of three amiably precocious young children trading smarts with fondly exasperated parents, the pic swings for a much more eventful story arc, with mixed results.
  75. 10,000 km
    From first frame to last, the filmmaking exudes intelligence and control, with none of the chilly emotional distance those qualities can imply. Form and content are in near-perfect balance.
  76. Stations of the Cross
    The fixed gaze of each “station” is an appropriate choice for illustrating unbending dogma, and helmer Brueggemann always makes interesting use of the frame.
  77. Self/less
    Even the resourceful, likable Reynolds is at a loss to elevate this rather dreary piece of would-be escapism, which calls out for the wry, pulpy touch of a John Carpenter (or his acolyte David Twohy) and instead gets the strained self-seriousness of director Tarsem Singh.
  78. Paper Towns
    It may not subvert every cliche of the high-school romance genre, but director Jake Schreier’s coming-of-age dramedy nonetheless pulses with moving and melancholy moments.
  79. Zarafa
    While the gorgeous widescreen landscapes have a pencil-and-aquarelle quality, the characters themselves are literally rougher-edged, a clever reminder of the hand-drawn, sketchlike quality of traditional animation.
  80. Faith of Our Fathers
    A clumsily told story of friendship and wartime remembrance that has a tough time serving up a halfway believable moment, let alone a moving and powerful testimony about the Lordship of Jesus Christ.
  81. Closer to God
    The result is ultimately admirable more for what it resists — the usual sci-fi horror exploitation cliches — than for the watchable yet somewhat underwhelming impact of a narrative that feels perhaps a little too reined-in for its own good.
  82. The New Girlfriend
    This delectable entertainment is as surprising for its continually evolving (and involving) dynamics of desire as for its slow-building emotional power.
  83. Magic Mike XXL
    Written raggedly enough for the actors to bring their own chemistry to what aspirationally feels like one of Robert Altman’s backstage dramas (a la “Nashville” or “Ready to Wear”), Magic Mike XXL is most fun when it isn’t trying to justify itself, but just kicking back with the guys — or better yet, giving them a fresh excuse to show off their creativity.
  84. Dragon Blade
    The writer-director has overcome his tendency to weave florid plots that quickly run out of steam, here forging a coherent narrative that’s strong on physical and emotional drive.
  85. A Borrowed Identity
    Riklis’ strongest film in several years, this is another well-intentioned plea for coexistence, though apart from one scene that lays bare, with welcome righteousness, the disturbing orientalism infiltrating even Israeli intellectual circles, the whole thing is rather too scrubbed and clean.
  86. The Strongest Man
    Thinly amusing, The Strongest Man stretches a short’s worth of potentially funny ideas to feature length, where they slowly and surely lead nowhere in particular.
  87. Max
    It’s too bad the film doesn’t provide a better sense of what makes the Belgian Malinois so uniquely suited to the battlefield, or find a way to pay more than lip service to the deep bonds developed between military men and animals.
  88. Soaked in Bleach
    This heavy buildup of investigative intel may be TMI for those not already obsessed with all things Cobain. The dramatic sequences have a straightforward telepic-mystery feel, though undeniably enliven by Scott’s blowsy impersonation of the worst detective’s client imaginable.
  89. Terminator Genisys
    For all its initial playfulness, the script never rises to the level of surreal, cortex-tickling pleasure it seems to be aiming for, and for all its self-awareness it’s weirdly devoid of humor.
  90. Ted 2
    Both “Ted” movies are, ultimately, one-joke affairs rooted in the idea of taking some emblem of childhood innocence and vulgarizing it.... That joke, though, turns out to be a resilient one, and the chemistry between Wahlberg and MacFarlane is infectiously puerile.
  91. The Midnight Swim
    For much of the running time, The Midnight Swim is effectively ambiguous, but Smith’s decision to play coy with the sisters’ backstories eventually frustrates.
  92. Advantageous
    Advantageous presents an offbeat, intimate dystopian vision that is strongly intriguing for a while. But just when it should shift from a focus on ideas to emotional involvement, the pic instead grows slower and less engaging.
  93. The Princess of France
    Even the most deliberately airy amusement can use more ingenious structuring and assertive personality than Pineiro is inclined to provide at this (still early) stage in his career.
  94. Top Spin
    The film doesn’t so much avoid cliches as brush off any sentimental excess, briskly maintaining narrative flow.
  95. Boulevard
    This is one of the kindest characters Williams has ever played, which makes his self-imposed turmoil — the consequence of not wanting to hurt anyone, least of all his wife — all the more tragic.
  96. Gabriel
    An admirable if downbeat character study, Gabriel still sinks into a psychological quagmire.
  97. Any Body Can Dance 2
    If you haven’t come to see lots (and lots) of dance, you’ve come to the wrong place; and even if nothing in the second half of ABCD 2 quite reaches “Happy Hour” levels, D’Souza shoots and edits dance with a lot more savoir faire than most contemporary musical directors, mindful to keep the dancers’ entire bodies in frame, and cutting with a strong sense of spatial continuity.
  98. Minions
    Stronger on concept than story, Brian Lynch’s Minions script emphasizes scale over quantity.
  99. Ardor
    Fendrik seems more interested in the rich jungle surroundings than in the generic human struggle in the foreground, alternating between clunky setpieces (such as the sitting-duck rowboat shootout) and long stretches where the characters say nothing.
  100. Southpaw
    The undeniable intensity of Gyllenhaal’s bulked-up, Method-mumbling performance may leave you feeling more pummeled than convinced in this heavy-handed tale of redemption, in which director Antoine Fuqua once more demonstrates his fascination with codes of masculine aggression, extreme violence and not much else.
Page:

Top Trailers

See all »
See all trailers »