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 LEGO Movie
    Phil Lord and Christopher Miller irreverently deconstruct the state of the modern blockbuster and deliver a smarter, more satisfying experience in its place, emerging with a fresh franchise for others to build upon.
  2. A Field in England
    Clearly, Wheatley is bored with the paint-by-numbers approach of his horror contemporaries, but has swung so far in the opposite direction here, the result feels almost amateurishly avant garde at times, guilty of the sort of indulgences one barely tolerates in student films.
  3. Jai Ho
    There’s nothing easier to like than a tear-jerking, action-packed melodrama that knows no shame. But a minimal amount of skill and sensitivity are required.
  4. Charlie Victor Romeo
    The screenwriter/playwrights have processed the characters’ last words in ways that imbue them with as much humanity as possible.
  5. Peter Brook: The Tightrope
    There’s no doubting Brook and the performers’ commitment to their craft, even if the end result is somewhat repetitive.
  6. Jobriath A.D.
    While the subject remains something of an enigma offstage, this absorbing and deftly crafted documentary compels interest throughout.
  7. Brightest Star
    Brightest Star, has all the trappings of a contemporary romantic comedy, but also the good sense to strive for a deeper examination of a young man’s search for his place in the universe.
  8. Best Night Ever
    The four leads are nothing if not game, and actually earn respect, along with a fair amount of sympathy, for their uninhibited willingness to go to extremes. But there are limits to what they can do to dispel the overall sense of mounting desperation as the gross-out tomfoolery grows ever more tedious.
  9. At Middleton
    Adam Rodgers’ debut feature is a painless enough diversion, but novel ideas and humor beyond mild chuckles are in scant supply.
  10. The Monuments Men
    Clooney has transformed a fascinating true-life tale into an exceedingly dull and dreary caper pic cum art-appreciation seminar — a museum-piece movie about museum people.
  11. Somewhere Slow
    This tonally all-over-the-place drama fails to convince.
  12. That Awkward Moment
    The pic falls well short of its efforts to combine the raucous vulgarity of the “Hangover” movies with Cameron Crowe-ish depth of feeling.
  13. Happy Christmas
    Happy Christmas desperately needs some real jokes, rather than settling for the bemused chuckles that accompany its banal observations into human nature.
  14. Alive Inside
    Rossato-Bennett’s over-the-top narration often sounds cloying and banal... But the filmmaker succeeds in providing context, medical and historical, in between awakenings.
  15. Mercedes Sosa: The Voice of Latin America
    The pic nicely straddles a line between Sosa’s private and public personas, never quite delving deep although Vila covers all the bases.
  16. Rich Hill
    Everything about the three principal teens registers as deserving of “human interest” to Rich Hill’s two helmers, whose generous attitude draws us into this deeply empathetic film.
  17. Mitt
    This is neither an indictment nor an endorsement but simply a refreshing departure from the combative tone of contemporary politics and political coverage.
  18. Wish I Was Here
    The result is unquestionably an auteur film, but one festooned with so many bad and unnecessary ideas that one can’t help wondering if a more modest, hemmed-in version of the same project might not have proved more effective.
  19. White Bird in a Blizzard
    It’s naughty, campy and wildly uneven.
  20. The Trip to Italy
    Now and then, Winterbottom nudges the movie in the direction of narrative... But even when it’s just ambling about, The Trip to Italy casts a warm, enveloping spell.
  21. They Came Together
    A lively comic jamboree that’s sometimes smarter than it is funny and hits about as often as it misses, but is, on balance, a good deal of fun.
  22. Song One
    Perhaps the cleverest thing about Barker-Froyland’s delicately contrived debut is how uncontrived she manages to make it seem.
    • 74 Metascore
    • 80 Critic Score
    The Skeleton Twins
    Sibling bonds are fertile territory for indie dramedies, but The Skeleton Twins distinguishes itself from the pack with a pair of knockout performances from “Saturday Night Live” veterans Bill Hader and Kristen Wiig.
  24. The Overnighters
    Lensed with a complete absence of frills that perfectly suits its honest, unvarnished tone, The Overnighters presents an indelible snapshot of a despairing moment in American history, as men abandon homes, families and dreams to stake their claim in an ever-shrinking land of opportunity.
  25. Low Down
    It’s a familiar story of music-world success, failure and addiction, admirably but unevenly told by first-time feature director Jeff Preiss, who certainly knows the music and the milieu, but proves less adept at shaping the material into a consistently compelling narrative.
  26. Love Is Strange
    Love Is Strange never feels anything less than authentic, like a true story shared by close friends.
  27. Life Itself
    James cuts — as in all of his best work — straight to the human heart of the matter, celebrating both the writer and the man, the one inseparable from the other, largely in Ebert’s own words.
  28. Land Ho!
    What gives the story its moment-to-moment buoyancy is the pleasure of watching two actors working brilliantly in tandem.
  29. Laggies
    If the narrative progression feels too tidy and circumscribed, Shelton’s talent for bringing out the best in her actors remains satisfyingly intact.
  30. Kumiko, The Treasure Hunter
    At every turn, we can sense what’s going on behind Kumiko’s doleful, downcast eyes; Kikuchi pulls us deeply into her world.
  31. Infinitely Polar Bear
    Forbes brings a marvelous warmth and specificity to this story of a mixed-race family struggling to survive, aided considerably by one of Mark Ruffalo’s richest, most appealing performances.
  32. Imperial Dreams
    Even in moments that don’t ring entirely true, Boyega’s grounded performance keeps the film headed in the right direction.
  33. 12 O'Clock Boys
    Using Baltimore’s dirt-bike groups as its entry point, the film offers a remarkable grassroots look at how the system is broken at the inner-city level.
  34. I Origins
    The film amounts to a lousy sort of magic show, schematically pulling strings to prove its own points.
  35. Camp X-Ray
    Camp X-Ray is most commendable for believably depicting the U.S. military from a female’s point of view.
  36. Boyhood
    With Boyhood, Linklater has created an uncanny time capsule, inviting auds to relive their own upbringing through a series of artificial memories pressed like flowers between the pages of a family photo album.
  37. Frank
    Helmer Lenny Abrahamson (“Garage,” “Adam & Paul”) puts the pic’s eccentricity to good use, luring in skeptics with jokey surrealism and delivering them to a profoundly moving place.
  38. Gimme Shelter
    The film is hamstrung by its fidelity to real-life inspirational models.
  39. Calvary
    Grounded by a performance of monumental soul from Gleeson as a tough-minded Irish priest marked for death by one of his parishioners, the film offers a mordantly funny survey of small-town iniquity that morphs, almost imperceptibly, into a deeply felt lament for a fallen world.
  40. God Help the Girl
    It will be up to viewers to decide whether God Help the Girl is ingratiatingly naive art, gratingly inept art, or a bit of both.
  41. The Raid 2
    It’s hard to shake a nagging feeling of more is less; with its convoluted plot mechanics clearly cribbed from past thriller templates, the film never quite generates or sustains its predecessor’s pure sense of menace.
  42. I, Frankenstein
    Utterly witless, listless, sparkless and senseless, this supernatural actioner makes one long for the comparative sophistication of the conceptually identical “Underworld” franchise (with which it shares producers and a writer).
  43. Enemies Closer
    An unremarkable but entirely serviceable action quickie.
  44. Freezer
    Freezer is a mediocre work built on a flimsy, nonsensical premise that squanders its modest potential with a cornucopia of bad plot twists.
  45. Indigo Children
    Eric Chaney’s debut feature, Indigo Children, doesn’t so much copy Terrence Malick as swallow the filmmaker’s stylistic tics whole and vomit them out onscreen in an ungainly if mercifully brief mess.
  46. A Most Wanted Man
    Corbijn succeeds here in large part because his attention to nuance and detail so fully complements that of the German operatives at the story’s core.
  47. Whiplash
    Chazelle proves an exceptional builder of scenes, crafting loaded, need-to-succeed moments that grab our attention and hold it tight.
  48. McCanick
    If the drably derivative, infuriatingly improbable police drama McCanick is remembered for anything, it will be for its uniformly overqualified cast.
  49. Maladies
    It’s hard for the audience to invest in a protagonist this solipsistic.
  50. Finding Vivian Maier
    [An] initially playful, ultimately haunting documentary.
  51. U Want Me 2 Kill Him?
    Salaciously watchable but finally hokey.
  52. Kids for Cash
    The film represents a scathing critique of America’s juvenile justice system, the privatization of penal institutions, and the whole notion of “zero tolerance.”
  53. Odd Thomas
    Sommers attempts to glue it all together with a raffish all-in-fun tone (despite some gory moments and unpleasant conceits), but the pic is neither witty nor macabre enough to pull off Koontz’s balance of elements in cinematic terms.
  54. The Lunchbox
    Batra adeptly plays on the tension of will they or won’t they meet, making good decisions based on character and situation rather than the need to uplift an audience.
  55. Run & Jump
    With remarkable warmth and immediacy, Green and co-scripter Keogan have managed to capture the beauty of an obviously flawed family, one neither too perfect nor too demographically balanced to ring true, and imbue it with a sense of plenitude that seems to flow as much from the sun-drenched land itself as from the quirkily particular personalities involved.
  56. Towheads
    Works better as a series of well-conceived, impeccably timed and executed physical gags, with light dustings of pathos, than as the story of a woman sacrificing her artistic identity on the altar of motherhood.
  57. Devil's Due
    The film expends plenty of effort crafting a few memorable freakout setpieces and nailing down the logistics of its found-footage camera placement, yet it offers precious little in the way of real scares or engaging characters, and even less in original ideas.
  58. Dedh Ishqiya
    Dedh Ishqiya ends on a note of sadder-but-wiser resignation that recalls its predecessor, but its high romantic cultural allusions convey a deeper sense of what’s at stake.
  59. Band of Sisters
    Mary Fishman’s admiring docu is more a general survey than a detailed history or portrait of individual personalities and causes, and as a result, it holds interest without achieving any real narrative arc, offering inspirational content in a merely workmanlike package.
  60. Omar
    Deliberately ambiguous in how it approaches the inexorable nexus of violence, Omar will trouble those looking for condemnation rather than the messiness of humanity.
  61. Generation War
    Overly melodramatic but fairly engrossing.
  62. Ride Along
    A lazy and listless buddy-cop action-comedy that fades from memory as quickly as its generic title.
  63. Jack Ryan: Shadow Recruit
    Crisp, efficient and appreciably modest in scale...this conspicuous attempt to breathe new life into a long-dormant action franchise gets at least a few things right, chiefly the shrewd casting of Chris Pine.
  64. Divorce Corp
    Divorce Corp. is reasonably cogent when it comes to explaining divorce-court terminology and statistics, even if it comes up somewhat short in terms of actual facts and figures. The filmmakers are far less successful when they start dragging in outrageous examples of official misconduct.
  65. Reasonable Doubt
    This utterly unmemorable, uninspired and unnecessary genre exercise should fade from view so fast they might just as soon have called it “Without a Trace.”
  66. Chander Pahar (Mountains Of The Moon)
    It’s a tale that was once thrilling, but the thrills seem to have evaporated.
  67. Truth
    A low-budget potboiler with an overblown score not loud enough to drown out the hackneyed dialogue.
  68. The Nut Job
    The critters look cute, but behave less so, while the competing-heists concept never quite takes off.
  69. Black Coffee
    The timidly plotted proceedings never veer from romantic-comedy formula. There’s a whole lot of talk and very little action here, and not just because the squeaky-clean pic wears its PG rating like a badge of honor.
  70. Evangelion: 3.0 You Can (Not) Redo
    As a narrative, “Evangelion 3.0″ may make you feel your brain is turning into goat cheese. As a showcase for pure visual ingenuity and splendor, though, it rocks.
  71. Return to Nuke 'Em High Volume 1
    The term “freewheeling” does not begin to describe the slapdash, anything-goes quality of the screenplay co-written by Troma mogul Kaufman.
  72. Hamlet
    A modestly inventive but curiously bloodless version of the Bard’s timeless tragedy.
  73. The Legend of Hercules
    Lutz’s acting muscles aren’t nearly as well developed as his pectorals and deltoids, and while the role may not call for a master thespian, it at least begs someone who can emote without looking like he’s straining to execute a dead lift.
  74. If You Build It
    A bittersweet ending offers both victory and defeat, but closes on a note of hard-won optimism.
  75. The Adventurer: The Curse of the Midas Box
    After a decent if formulaic setup, the story bogs down in dull midsection intrigue, and helmer Jonathan Newman doesn’t deliver as much excitement as expected in the climactic stretch.
  76. Cold Comes the Night
    A capably assembled if ultimately unremarkable thriller.
  77. Raze
    Raze is a brutally monotonous fight-to-the-death-contest actioner whose novelty element — all-female competitors — is undermined by lack of imagination on every other level.
  78. Loves Her Gun
    Loves Her Gun ultimately doesn’t quite cohere as one part slackerish social observation in a nicely turned mumblecore mode, and one part cautionary psychological thriller about the dangers of treating fear with a loaded weapon.
  79. The Banshee Chapter
    Proving the “Paranormal Activity” formula can still work when used with canny restraint, Erickson achieves good results with long, eerie found-footage takes that end in jolts.
  80. The Great Flood
    Morrison has always closely collaborated with musicians, but here the helmer goes one better, making music the ultimate product of the Great Flood.
  81. Beyond Outrage
    The Japanese action aesthete plays it cool and smooth in a picture that exerts a steadily tightening grip, though not until after a first hour of near-impenetrable gangster gab that may leave the uninitiated feeling stranded.
  82. Commitment
    Tyro helmer Park Hong-soo handles wall-to-wall action, political intrigue and adolescent love with a relentless efficiency that befits his protagonist, even if the execution can feel as methodical as that of a killer checking off a hit list.
  83. G.B.F.
    Genially cartoonish but also rather sweet.
  84. Paranormal Activity: The Marked Ones
    The haunted house setpieces provide reliable doses of jolts, even if one can see the scaffolding of each scare being built from miles away, and director Landon has fun with some clever camera placement here and there.
  85. Hollywood Seagull
    Despite retaining the basic narrative architecture of its classic source, Hollywood Seagull too often feels like a trite, sudsy take on privilege, ambition and angst among showbiz players and wannabes — one that seemingly exists mostly to showcase real-life C-listers, aspirants and pals in the tradition of Henry Jaglom’s films.
  86. Bethlehem
    The film comprises an impressive directorial debut for Adler who demonstrates a confident grasp of pace, place and thesp handling.
  87. Justin Bieber's Believe
    A slickly entertaining piece of work that will doubtless delight the young pop star’s fan base, and possibly engage curiosity-seekers who have heretofore remained immune or indifferent to Bieber Fever.
  88. Jodorowsky's Dune
    Pavich does an admirable job tracking down surviving parties (except for the suspicious-sounding cast), opting for a humorous rather than indignant tone to the interviews.
  89. Grudge Match
    Essentially recasting “Grumpy Old Men” with the senescent specters of Rocky Balboa and Jake LaMotta, the result is sporadically amusing, with some chucklesome sight gags and crowdpleasing supporting turns from Alan Arkin and Kevin Hart, yet it’s all so overcooked that it defeats its own purpose.
  90. The Rocket
    Mordaunt previously directed a docu in Laos that featured kids who sold unexploded bombs for scrap metal, and that earlier experience invests this feature’s characters and milieu with an absolute integrity.
  91. Interior. Leather Bar.
    A partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo.
  92. The Best Offer
    Aiming for a Hitchcockian take on an eccentric auctioneer (well-handled by Geoffrey Rush) who becomes enamored of an heiress with severe agoraphobia, the pic ends up more in Dan Brown territory, with over-obvious setups and phony insight into the art establishment.
  93. 47 Ronin
    As impressive as these visual elements prove to be, the film struggles to grab and maintain audiences’ interest, whether or not they know the underlying legend by heart.
  94. The New Rijksmuseum
    Hoogendijk has created an artifact that, while not exactly elegant, 400 years hence may prove as vital a window into Amsterdam culture as any of the Dutch masterpieces hanging in the museum itself.
  95. Dhoom 3
    At their best, the lush yet punchy musical numbers that Acharya stages for Dhoom: 3 reach giddy heights of pop romanticism.
  96. Personal Tailor
    Over the course of its generally absorbing if overlong 117-minute running time, it offers a brief and appreciably sympathetic take on the lure of fantasy, the pleasures of role play and the thrill of commanding the multitudes — which is to say that it’s, among other things, a film about filmmaking.
  97. Big Bad Wolves
    The filmmakers’ undeniable chops and bizarre tonal shifts fail to transform the material into anything more than a stylishly gruesome exercise.
  98. Blue Ruin
    A lean and suspenseful genre piece that follows a bloody trail of vengeance to its cruel, absurd and logical conclusion.
  99. Walking with Dinosaurs
    Visually, “Walking With Dinosaurs” dazzles with its combination of Animal Logic-animated CG creatures...and beautiful practical backgrounds... Less dazzling is the constant stream of jokey banter, which thwarts the pic’s educational potential and caps its target age awfully low.
  100. Wrong Cops
    A monstrously unfunny “Police Academy”/“Reno 911” knockoff directed with just enough winking self-awareness to seem both insipid and pretentious.
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