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. Generation Iron
    Those with just a casual interest will find it colorful if a bit undercooked in the human-interest department, with limited insight into what makes its subjects tick, and the occasional rivalries between them.
  2. Last Love
    Last Love sticks to a flaccid middle ground lacking any real drama or pathos.
  3. Remington and the Curse of the Zombadings
    Exuberantly silly, Remington and the Curse of the Zombadings sends up Filipino horror, romance, gaysploitation and other genre cliches in service of a pro-tolerance message.
  4. House in the Alley
    Despite the bumpy pacing and the routine plot elements, writer-director Le-Van Kiet periodically generates a sense of palpable trepidation during what might best be described as a worst-case scenario about post-partum depression.
  5. Last Vegas
    A smattering of funny gags and the nostalgia value of the cast — none of whom, curiously, have ever shared the screen before — keeps the whole thing more watchable than it has any right to be.
  6. Running from Crazy
    The narratively jumbled film...features too many scenes that amount to mere stargazing.
  7. The Dirties
    This sloppy, button-pushing black comedy reveals a crew desperately in need of counseling — less in anger management than in the fundamentals of screenwriting, camerawork and structure.
  8. Blue Is the Warmest Color
    It’s a simple, even predictable story, yet textured so exquisitely and acted so forcefully as to feel almost revelatory.
  9. Big Ass Spider!
    An exceedingly good-natured Z-grade creature feature.
  10. Ender's Game
    An impressive, thought-provoking astro-adventure that benefits from the biggest screen available.
  11. The Counselor
    The script is nearly all dialogue, including several eloquent spoken passages toward the end, but it’s a lousy story, ineptly constructed and rendered far too difficult to follow.
  12. Jackass Presents: Bad Grandpa
    Even at its low ebb, the movie effuses an infectious, mischief-making joy.
    • 83 Metascore
    • 100 Critic Score
    Gloria
    Pitch-perfect, terrifically written.
  14. The End of Time
    Intermittently interesting but more often pretentious, this sluggish exploration of time as real and conceived concepts rarely does more than regurgitate philosophical platitudes without locating the depth to make them interesting.
  15. Thor: The Dark World
    This robust, impersonal visual-effects showpiece proves buoyant and unpretentious enough to offset its stew of otherwise derivative fantasy/action elements.
  16. Enzo Avitabile Music Life
    Unlike Demme’s concert pics, this aims more for the process, yet brief scenes “in the old neighborhood” play out like cliches, and only Avitabile’s restlessness really lingers.
  17. Hellbenders
    Hellbenders becomes what it intends to burlesque, and that’s not so damn funny, even with 3D gimmickry.
  18. Haunter
    Director Vincenzo Natali (“Splice”) is more effective at sustaining clammy suspense than hiding all the holes in Brian King’s script. But top-billed Abigail Breslin (“Little Miss Sunshine”) is effective enough to generate a rooting interest in the plucky protagonist of the piece, and to sustain interest when narrative logic turns fuzzy.
  19. Peaches Does Herself
    This high-grade concert film will enthrall fans and amuse more open-minded newbies, though it suffers from the most dynamic material being largely clustered in the pic’s front section.
  20. American Promise
    American Promise succeeds in touching on a wealth of subjects without overreaching.
  21. The Human Scale
    If Dalsgaard’s advocacy of Gehl’s utopian vision largely ignores the socioeconomic forces arrayed against it, the film should nevertheless enthuse pedestrians, bike riders and public-space proponents everywhere.
  22. Bounty Killer
    Cheerfully gory, derivative and silly, Bounty Killer aspires to nothing more or less than trashy fun for genre fans, and this umpteenth “Mad Max”-style dystopian actioner delivers on that modest but admirable score
  23. Cut to Black
    Although the film wears its dated genre affectations on its sleeve, the script avoids pretension, its hero’s believably alienated exhaustion overriding mere nostalgia.
  24. I'm in Love with a Church Girl
    The road to hell is paved with well-intentioned clunkers like I’m in Love with a Church Girl, a strenuously sincere but tediously schematic and heavy-handed attempt at cinematic proselytizing for Christianity.
  25. Boss
    The deafening Bollywood action comedy Boss, directed in broad, heavy strokes by Anthony D’Souza (“Blue”), is a relentless hard-sell star vehicle, a two-and-half-hour string of sledgehammer fighting and dancing sequences.
  26. Lost for Words
    Sufficiently sweet to serve as a date movie for all ages, Lost for Words comes across as almost subversively retrograde in its old-fashioned approach to charting the slow blossoming of a cross-cultural romance.
  27. 2 Jacks
    Slack narrative and abysmal dialogue render the vague generational satire meaningless to anyone unfamiliar with Tolstoy’s work (and depressing to those in the know).
  28. Saving Mr. Banks
    It’s a bit square, never particularly surprising, yet very rich in its sense of creative people and their spirit of self-reinvention.
  29. Life According to Sam
    A straightforward, solidly crafted inspirational tale.
  30. The Taiwan Oyster
    Disguised as a drunken cartwheel through expat paradise, Mark Jarrett’s striking feature juggles questions of mortality along its rowdy cross-country path.
  31. Seduced and Abandoned
    Spirited, highly amusing and endearingly shambolic.
  32. CZ12
    Taking more than a dozen credits, including helmer-scribe, Jackie Chan emerges a Jackie-of-all-trades and master of none.
  33. One Chance
    What keeps One Chance plugging along almost in spite of itself are the warmly engaging performances of Corden and Alexandra Roach.
  34. Carrie
    Director Kimberly Peirce’s intermittently effective third feature eschews De Palma’s diabolical wit and voluptuous style in favor of a somber, straight-faced retelling, steeped in a now-familiar horror-movie idiom of sharp objects, shuddering sound effects and dark rivulets of blood.
  35. Belle
    That the film still works as well as it does is due to not only its polished craftsmanship and disarming comedy-of-manners approach, but also its fascinating insights into the conflicted mindset of British society
  36. Escape Plan
    Mercifully free of tongue-in-cheek meta-humor, Escape Plan is a likably lunkheaded meat-and-potatoes brawler that never pretends to be more sophisticated than it is.
  37. Ghost Team One
    An aggressively obnoxious tone undermines a decent concept and appealing cast.
  38. Symphony of the Soil
    Koons Garcia has obviously opted for an upbeat approach: Choruses of scientists and farmers sing the praises of organic farming while John Chater’s camera visually devours the fruits, vegetables and livestock produced by healthy dirt.
  39. Torn
    Performances and presentation are solid enough, but the pic feels a bit undernourished, particularly once it closes on a note that’s well intentioned but provides no real resolution.
  40. Toad Road
    Though it can be taken at first glance as an archetypal “nothing happening” movie, there’s just enough going on here to suggest repeat viewings might reward curiosity.
  41. The Secret Lives of Dorks
    Winning performances by a number of fresh-faced newcomers are almost but not quite enough to recommend The Secret Lives of Dorks, a fitfully amusing, more often shrill and overstated teen comedy that, like its dweeby protagonist, tries too hard to impress.
  42. Our Day Will Come
    Once it’s evident that there’s hardly a point to all the random mischief — or that the point is precisely that there isn’t one — the idea of watching a pair of grown men inflect violence upon innocent bystanders feels awfully tedious
  43. CBGB
    Transforms the glory days of Hilly Kristal’s Bowery punk/No Wave club into exactly the sort of moldy sitcom one might expect from writer-director Randall Miller.
  44. Sweetwater
    Fancy-sounding dialogue and handsome widescreen lensing goes only so far to disguise the shallowness of the underlying material.
  45. The Snitch Cartel
    A snazzy, fast-paced pic that’s nonetheless somewhat enslaved by the get-rich-quick and crime-doesn’t-pay cliches that finally trip up the lowlife protags.
  46. Broadway Idiot
    A straightforward account of the show’s journey from conception to rehearsal to Great White Way triumph, it effectively doubles as a traditional let’s-put-on-a-show musical in its own right, albeit one with heavier guitars.
  47. Paradise
    Cody shows promise as a director, paving over the bumpy patches with clever song choices, but needs to mix things up if she hopes to continue.
  48. Her
    What begins like an arrested adolescent dream soon blossoms into Jonze’s richest and most emotionally mature work to date, burrowing deep into the give and take of relationships, the dawning of middle-aged ennui, and that eternal dilemma shared by both man and machine: the struggle to know one’s own true self.
  49. Charlie Countryman
    Fredrik Bond’s direction and Matt Drake’s screenplay deliver a charisma-free trip into a world of gratuitous violence, contrivances and tedium.
  50. Forgetting the Girl
    First-time feature helmer Nate Taylor, working from an adroitly constructed screenplay by Peter Moore Smith, skillfully evokes a clammy sense of dread in this stealthily suspenseful indie.
  51. Red Wing
    Will Wallace's turgid indie tells an earthbound and anemic story about an orphan's progress in small-town Texas.
  52. Which Way Is the Front Line from Here? The Life and Time of Tim Hetherington
    Sebastian Junger’s docu Which Way Is the Front Line From Here? offers a moving requiem for his “Restrepo” co-director.
  53. I Will Follow You Into the Dark
    For a supernatural thriller that spends so much time on material that is neither supernatural nor thrilling, there’s not nearly enough effort put into credible, complex character writing, leaving the cast only so much ability to fill in the gaps.
  54. Cassadaga
    Equal parts gory mayhem, convoluted mystery and rote romance, none of which gel together very well.
  55. Romeo & Juliet
    Shorn of eroticism, intensity or purpose... it strikes familiar beats in a manner more strained than inspired.
  56. Bridegroom
    It may not be balanced or especially sophisticated filmmaking, suffering from a misty-eyed oversimplification of what relationships (gay or straight) actually demand. But for many, it’s precisely the sort of emotional eye-opener needed for young people to find inspiration and naysayers to reconsider their attitudes.
  57. The Little Bedroom
    Though the script... is underdeveloped and pic is assembled in workmanlike fashion, it does feature some nicely modulated performances.
  58. When I Walk
    The pic is a bit clunky at times in its structure of blackout-separated chapters, and its subjects aren’t the most articulate folks, but it’s all kept relatable by their almost unshakably upbeat attitudes.
  59. In the Name Of
    While thesps Chyra and Kosciukiewicz... embody the physical aspect of their characters’ relationship comfortably enough, their pairing as lovers lacks both chemistry and narrative credibility.
  60. Besharam
    Kashyap relies completely on star Ranbir Kapoor to put over this relentless reiteration of cliches and, admittedly, the actor invests his aggressively tasteless, crotch-grabbing antics with enough energy and humor to make it palatable, but only just.
  61. Blood Brother
    Despite its ostensibly depressing subject and a few tough-to-watch sequences, Blood Brother is never less than engrossing, and it’s often delightful.
  62. Camille Claudel 1915
    A measured, moving account of a brief period in the later life of the troubled sculptress, could hardly be the work of anyone else, with its sparseness of technique and persistent spiritual curiosity.
  63. God Loves Uganda
    Roger Ross Williams’ forceful polemic succeeds to a startling degree, rightly decrying the use of the gospel to incite homophobia, and allowing the most fervent interviewees to damn themselves with their own proselytizing words.
  64. All Is Bright
    This engaging if somewhat underwhelming tale of unlikely redemption builds a funny-sad web of intersecting interactions around its strong central perfs.
  65. Spinning Plates
    Little in the way of a unified theme emerges to turn Joseph Levy’s feature into something more than a semi-random survey of restaurant life.
  66. Running Wild: The Life of Dayton O. Hyde
    Beautiful lensing by Mauro Brattoli and an evocative score Steve Poltz enrich the pic’s flavor as a document of, and a tribute to, an iconic cowboy’s indomitable spirit.
  67. A.K.A. Doc Pomus
    [A] deft assemblage of homemovies, work tapes and interviews is further invigorated by 1980s interviews with Pomus and a dynamite soundtrack of his rock ‘n’ roll perennials.
  68. Murph: The Protector
    The serviceable documentary Murph: The Protector could hardly fail to be an emotionally potent experience.
  69. The Secret Life of Walter Mitty
    Rather than channeling James Thurber’s satirical tone, Stiller plays it mostly earnest, spinning what feels like a feature-length “Just Do It” ad.
  70. Grace Unplugged
    The makers of Grace Unplugged deserve at least some credit for resisting temptations toward melodramatic excess.
  71. Pulling Strings
    A lightly engaging bilingual trifle that benefits greatly from the charm of lead player Jaime Camil, a Mexican TV and film star who evidences smooth self-assurance at the wheel of what could be his crossover vehicle.
  72. Nothing Left to Fear
    Features fewer small-town scares than a rerun of “Dawson’s Creek” and more wooden acting than a marionette theater. Memo to Rob Zombie: Don’t fear the competition.
  73. The Book Thief
    The Book Thief has been brought to the screen with quiet effectiveness and scrupulous taste by director Brian Percival and writer Michael Petroni.
  74. These Birds Walk
    Instead of explaining the system through conventional narration, which would have been extremely helpful, the filmmakers immerse auds in the world they found, capturing its subjects’ behavior with startling candor.
  75. Capital
    Costa-Gavras develops such a propulsively suspenseful pace — with no small assist from Armand Amar’s mood-enhancing Euro-tech score — that his drama comes across as the cinematic equivalent of an engrossing page-turner you might purchase off the rack at an airport newsstand.
  76. Mission Park
    The movies by their very nature require a certain suspension of disbelief, but Mission Park requires more suspension than a two-ton crane could provide.
  77. Vikingdom
    A cheerfully silly action fantasy.
  78. Machete Kills
    As violent as its predecessor yet noticeably duller and less outrageous, Machete Kills is dragged to the finish line entirely by its director’s madcap energy and an absurd cast of major stars in strange cameos.
  79. The Missing Picture
    The film is a brave act of witness complicated by the documaker’s decision to re-create his experiences using clay figurines, a tricky aesthetic device that raises fascinating and problematic questions of representation.
  80. Valentine Road
    Though the ugly phobia that gave rise to the killing and permeated the legal proceedings boils the blood, the film’s tone is somber rather than angry, and its effect is quietly devastating.
  81. Unacceptable Levels
    Unacceptable Levels marries folksy astonishment and alarmist speculation in a documentary far too easy to dismiss.
  82. Let the Fire Burn
    The brilliantly edited tapestry of actions and reactions exposes a pattern of prejudice and fear capable of infinitely repeating itself.
  83. Babygirl
    Nevertheless, Babygirl has sufficient authenticity and charm as a summer-in-the-city miniature to easily hold attention, however modest its payoff.
  84. Cleaver's Destiny
    Hampered by pedestrian, underpopulated mise-en-scene, a sketchy script and uneven thesping, “Destiny” definitely underwhelms.
  85. The Young and Prodigious T.S. Spivet
    The Young and Prodigious T.S. Spivet is the perfect 3D vehicle and Jeunet takes full advantage, offering a feast of amusing visual flourishes suited to the book’s playfulness.
  86. The Investigator
    It speaks well of The Investigator that, for much of its running time, it’s possible to lose sight of the movie’s agenda and get caught up in its hokey machinations.
    • 70 Metascore
    • 80 Critic Score
    Camp 14: Total Control Zone
    There are some subjects so horrific, so far beyond our understanding, that the mind goes numb. Such is the case with Marc Wiese’s chilling docu Camp 14: Total Control Zone.
  88. Sunshine on Leith
    It’s a chirpy heart-on-sleeve confection that’s populist in a somewhat generic way.
  89. Argento's Dracula 3D
    Director Argento half-heartedly mixes schlocky 3D f/x with one-dimensional characters for a near-two-hour joke that ought to have been funnier.
  90. At Berkeley
    One of Wiseman’s best, a summation of sorts of a career’s worth of principled filmmaking from a director in his ninth decade.
  91. Wedding Palace
    Too many stretches of Wedding Palace are so garishly lit and broadly overplayed that they seem more cartoonish than the actual animated sequences that pepper the live-action production. That’s a pity, since this indie romantic comedy is not without its minor charms during its infrequent quiet moments.
  92. Morning
    An initially intriguing but ultimately exhausting tale of grieving parents left quite literally dazed and confused in the wake of their young son’s death.
  93. In Secret
    Serviceable but uninspired, this latest version of Emile Zola’s much-adapted 1867 novel “Therese Raquin” sends its characters to their doom on schedule without stirring much sense of tragedy or emotional involvement.
  94. Arise
    Despite an impressive global scope and admirable ethnic diversity among the interview subjects, the central thesis that women are leading the charge on green issues receives nothing but anecdotal support.
  95. Sunlight Jr.
    Incandescent performances by Naomi Watts and Matt Dillon and an unerring grasp of strip-mall-dominated Florida distinguish Sunlight Jr.
  96. The Trials of Muhammad Ali
    It’s an inspiring picture, particularly given the difficulty of imagining one of today’s sports superstars going so far out on a limb for unpopular beliefs.
  97. October November
    A carefully constructed and beautifully acted tale of two very different sisters brought together when their aging father falls seriously ill.
  98. Runner Runner
    Runner Runner’s appeal increases dramatically whenever Affleck enters the frame.
  99. Flu
    The story flatlines as the crisis escalates, falling prey to pedestrian human drama and improbable conspiracy subplots.
  100. +1
    Carefully repeated imagery, in-camera tricks and well-executed fx combine to create a tantalizing visual puzzle that demands full attention, even as the flavorless characters and largely so-so performances risk audience indifference.
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