Variety's Scores

Select another publication »
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
view
per page
  1. Closed Circuit
    [A] slick, smarter-than-usual conspiracy yarn.
  2. Willow Creek
    In angling for suspense, this low-budget stunt relies a bit too heavily on our suspension of disbelief.
  3. Devil's Pass
    It’s cheesy enough fun while it lasts, but in the Harlin pantheon, it isn’t a patch on “Deep Blue Sea.” Then again, few things are.
  4. Wampler's Ascent
    Resolutely sappy and sometimes amateurish, the briskly paced doc remains heartfelt and direct about the same admirable mission Wampler had in making the climb.
  5. Savannah
    Despite an effective Jim Caviezel, this anecdotal drama never rises above the level of lightly likable.
  6. Go Grandriders
    Hua Tien-hau’s sentimental, conventionally inspiring film offers good-natured insights on the importance — and the difficulty — of living life to the fullest at any age.
  7. Bastards
    Even at its most opaque, Bastards always exerts a dreamlike pull rooted in Denis’ rhythmic layerings of image, sound and music.
  8. The Mortal Instruments: City of Bones
    A ludicrous, borderline-nonsensical supernatural concoction with a slightly redeeming sense of its own silliness.
  9. One Direction: This Is Us
    The film’s central fivesome prove charming pallbearers throughout the film, which alternates between inspired and insipid as it hits its hagiographic marks.
  10. Standing Up
    Director D.J. Caruso offers a practical solution to the issue of adolescent bullying, as its two young protags respond to a case of vicious hazing not with despair or retaliation, but through teamwork and character-building.
  11. Escape from Tomorrow
    Escape From Tomorrow is a sneakily subversive exercise in low-budget surrealism and anti-corporate satire.
  12. Drew: The Man Behind the Poster
    The director commissioned Struzan to paint the one-sheet for his debut, “Sexina: Popstar P.I.,” and while this sophomore effort is no masterpiece, it’s far more deserving of Struzan’s talent.
  13. The Happy Sad
    Full of warmth and refreshingly matter-of-fact sexuality, the film has its heart in the right place, yet it’s ultimately a bit blander than its subject matter ought to demand, and its chamber-piece intimacy and pileup of coincidences scan particularly awkwardly given its convincingly wide-open depiction of New York.
  14. Herblock: The Black & the White
    Stevens offers a couple of revelations that bring the documentary to a dramatically and emotionally satisfying conclusion — and, not incidentally, leave a viewer with the pleasing sensation of discovering a worthy individual.
  15. C.O.G.
    The source material may be David Sedaris (this marks the first time the essayist has allowed one of his pieces to be adapted), but the tone couldn’t be more Kyle Patrick Alvarez, who once again steers auds to some gloriously uncomfortable places.
  16. We the Parents
    While no doubt a more evenhanded documentary remains to be made on this issue, the Takatas’ effort is polished and convincing on its own terms.
  17. Paradise: Faith
    The constant juxtaposition of scenes showing the dark and light aspects of the characters endows the pic with a juicy moral complexity that will stimulate post-screening debates.
  18. Kick-Ass 2
    As diverting as this action-packed caper often is, it feels not just weightless but emotionally and morally stunted whenever it veers into grown-up dramatic territory.
  19. Spark: A Burning Man Story
    "Spark” remains a lovingly made and shot tease, designed to ensure that what really happens at Burning Man stays at Burning Man.
  20. The Patience Stone
    Sensual and horrifying, The Patience Stone plays like a mesmerizing, modern take on the tales of Scheherazade and a parable on the suffering of Afghan women.
  21. Tiny Times 2.0
    Though this sequel is just as glossy and shallow as its predecessor, the story gets juicier as the four femme friends transform from kittens to lynxes in the wake of boy troubles and corporate takeovers.
  22. Chennai Express
    Shetty’s need to maintain his characters’ romantic heroism constantly grates against his depictions of their ridiculousness.
  23. A.C.O.D.
    The ensemble’s crack comic timing can only go so far to compensate for uneven scripting.
  24. Paranoia
    Director Robert Luketic’s thriller Paranoia has a host of problems, but the biggest seems to be that no one in it is nearly paranoid enough.
  25. Lee Daniels' The Butler
    There’s no denying, though, that Daniels knows how to push an audience’s buttons, and as crudely obvious as The Butler can be...it’s also genuinely rousing. By the end, it’s hard not to feel moved, if also more than a bit manhandled.
  26. The Good Son: The Life of Ray "Boom Boom" Mancini
    Director Jesse James Miller’s bio of ‘80s-era World Boxing Council lightweight champ Ray “Boom Boom” Mancini connects on emotional levels in the telling of an up-from-nothing brawler whose colorful career climaxed in tragedy.
  27. About Time
    Curtis ends up making a virtue out of the narrative’s episodic quality, a tendency that’s been criticized in his previous work; the film, like life, is just one damn thing after another, and that’s really the rather lovely point.
  28. Zipper: Coney Island's Last Wild Ride
    The director’s double vision establishes a level of equality on film that in some ways defies the disparity in power between the two opposing forces.
  29. Planes
    Diverting in bits and pieces, but absent the heart, soul and ingenuity one associates with the best of Disney animation, the endlessly merchandisable picture could very well soar at the box office, but it won’t stick the landing where word of mouth is concerned.
  30. Percy Jackson: Sea of Monsters
    An epic showcase for mediocre CGI and slapdash screenwriting.
  31. Kid-Thing
    Spearheaded by phenomenal pint-sized lead Sydney Aguirre, this challenging third feature from the Zellner Brothers retains much of their provocative trademark idiocy but navigates darker waters.
  32. Big Words
    The dialogue — natural, vibrant and totally embedded in the moment, never sententious or showoff-y — is delivered with consummate believability by an excellent cast.
  33. Jug Face
    The brisk, brief feature appears more atmospheric than terrifying, but its bare-bones tale gets under the skin.
  34. We're the Millers
    Even a premise this stupidly contrived stands a fair chance of working if there are a few decent yuks to be had, but absent any such inspiration, We’re the Millers falls back on the sort of lazy but desperate, sexually fixated non sequiturs that have become de rigueur in studio comedies, jabbing repeatedly at the human groin in hopes of eventually hitting something funny.
  35. National Security
    As worthy as the movie’s intentions are, scripting lets the team down with too many cliched speeches from accusers and accused alike. What’s not in question are the outstanding central perfs by Park and Lee.
  36. Jayne Mansfield's Car
    A fine cast can only do so much with the script’s pileup of generational conflict and long-winded introspection, resulting in a willfully out-of-step picture.
  37. A Teacher
    As first features go, A Teacher demonstrates a willingness to provoke, but doesn’t seem to understand the minimum expectations most audiences place on films in terms of both incident and characterization.
  38. When Comedy Went to School
    Ron Frank and Melvut Akkaya’s docu isn’t exactly groundbreaking, but as a brief history of the Catskill resorts, liberally laced with well-edited archival promos, songs, homemovies and extended excerpts from routines by Jewish comics who performed there, it consistently entertains.
  39. The Frozen Ground
    [A] solid if unmemorable true-crime drama.
  40. Smash & Grab: The Story of the Pink Panthers
    Marking does an admirable job of ceding centerstage to the Panthers without letting the film turn soft or letting her subjects turn themselves into latter-day Robin Hoods.
  41. Elysium
    Even working within a more conventional framework, Blomkamp again proves to be a superb storyteller. He has a master’s sense of pacing, slowly immersing us into his future world rather than assailing us with nonstop action, and envisioning that world with an architect’s eye for the smallest details.
  42. Colossus
    Hendrickson shot “Colossus” from a partial script, leaving room for improvisation, and the movie’s loose, shapeless feel and scenes that go on far too long are the telltale signs of a filmmaker who fell so in love with his own material that he couldn’t bring himself to kill his darlings.
  43. Drift
    Manages to get a fair bit right about early 1970s surf culture when it isn’t trafficking in the hoariest of David-vs.-Goliath cliches.
  44. 2 Guns
    Kormakur shows he knows his way around an action movie better than most, keeping the pace quick, the banter lively and the old-school, mostly CGI-free thrills delivering right on schedule.
  45. The Canyons
    The major exception is Lohan, who gives one of those performances, like Marlon Brando’s in “Last Tango in Paris,” that comes across as some uncanny conflagration of drama and autobiography. Lohan may not go as deep or as far as Brando, but with her puffy skin, gaudy hoop earrings and thick eye makeup, there’s a little-girl-lost quality to the onetime Disney teen princess that’s very affecting.
  46. Una Noche
    Writer-director Lucy Mulloy’s sexy, pulsing debut feature has an undercurrent of ribald comedy that doesn’t entirely prepare the viewer for the harrowing turn it eventually takes, but it nonetheless amounts to a bracing snapshot of desperate youths putting their immigrant dreams into action.
  47. Linsanity
    Evan Jackson Leong’s film makes the most of its superior access and exciting basketball footage, overcoming repetitive stretches by sheer dint of a tremendous underdog story.
  48. Evidence
    The movie itself is conclusive proof that the found-footage horror cycle sparked by “The Blair Witch Project” and mined successfully by the “Paranormal Activity” series has finally reached its low ebb.
  49. The Machine Which Makes Everything Disappear
    Those already well-versed in Georgia’s recent history will get the most from a series of real-life character sketches occasionally cryptic for their lack of contextualizing explanation. But the docu’s ample human interest and handsome lensing, despite much visual evidence of a struggling economy, will hold interest for most viewers.
  50. Stranded
    Another blandly competent, thoroughly forgettable low-budget sci-fier assembled from the stray parts of other, better movies.
  51. The Smurfs 2
    The genially goofy shenanigans, incredibly corny punchlines and Hank Azaria’s go-for-broke performance as the incompetent wizard Gargamel are very much the same ― an entirely welcome thing in a summer movie season full of so much apocalyptic Sturm und Drang.
  52. Apartment 1303 3D
    As it is, your monthly rent is probably scarier than what writer-director Michael Taverna has cooked up in this inept and derivative tale of a Detroit flat that mysteriously drives its tenants to suicide.
    • 66 Metascore
    • 80 Critic Score
    Alan Partridge
    A scissor-sharp comedy of ineptitude and failure.
  54. After Tiller
    Well contextualized and sensitively shot with extraordinary access, the pic reflects the personal, moral and ethical struggles of the doctors as well as their patients.
  55. Copperhead
    Director Ron Maxwell’s adaptation of Harold Frederic’s 1893 novel elicits a certain amount of admiration for its old-fashioned carpentry and earnest, worthy approach, but its stilted dramaturgy and endless speechifying defeat the committed efforts of a sprawling ensemble.
  56. Tiny Times 1.0
    Without a dominant storyline, the film feels more like a collage of photogenic moments than a full-fledged narrative.
  57. The Rooftop
    Like a school pageant with a Broadway-sized budget, this noisy production is a pileup of extravagant dance numbers, candy-colored sets and vintage props that, sans the requisite heart or hip factor, soon overstays its welcome.
  58. The Wolverine
    The Wolverine boasts one of the best pulp-inspired scripts yet. It’s still full of corny dialogue...but there’s a genuine elegance to the way it establishes Logan’s tortured condition and slowly brings the character around to recovering his heroic potential, methodically setting up and paying off ideas as it unfolds.
  59. The To Do List
    This rare femme-centric addition to the loss-of-virginity canon (dominated by the likes of “Porky’s,” “Risky Business” and “American Pie”) hits its fair share of outrageously funny highs amid lots of so-so filler, but stays buoyant and likable throughout thanks to the winning presence of “Parks and Recreation” star Aubrey Plaza in the lead.
  60. Snowpiercer
    Snowpiercer has been brought to the screen with the kind of solid narrative craftsmanship, carefully drawn characters and — above all — respect for the audience’s intelligence rarely encountered in high-concept genre cinema.
  61. Frankenstein's Army
    Pic’s monotone edges towards monotony by the end of the third act, but as no-budget calling-card features go, Frankenstein’s Army remains a grisly cut above.
  62. R.I.P.D.
    Thank heavens — or at least the “Department of Eternal Affairs” — for Jeff Bridges, whose hilariously free-associative performance as a 19th-century frontier marshal-turned-21st-century undead lawman is like an adrenaline shot to the heart of R.I.P.D.
  63. Blue Jasmine
    Blanchett’s performance is so dominant in terms of screentime and emotional impact that the film succeeds as not only a virtuoso ensemble piece, but also an unflinchingly intimate study of the character in the title.
  64. Dealin' with Idiots
    For once, truth in advertising: Dealin’ With Idiots spends 83 minutes doing exactly that.
  65. Beneath
    That sly toying with audience sympathies is, alas, all that’s notable about this otherwise poverty-row quickie produced for the Chiller cable network.
    • 72 Metascore
    • 70 Critic Score
    Our Nixon
    A brisk, eye-opening documentary about the Nixon White House as seen from the inside, this triumph of editing is composed of home movies shot by the president’s staff, accompanied by later TV interviews and priceless audio from the secret tapes, making it a must-see for anyone interested in Americana.
  67. Drug War
    A nail-biter that’s actually quite light on action but so well-scripted and shot, it’s nonetheless edge-of-your-seat material.
  68. Nicky's Family
    A valuable albeit overproduced history lesson.
  69. Ways to Live Forever
    Lively, entertaining and well made, pic is thankfully neither mawkish nor grueling, though its refusal to confront some of the harsher realities of its dramatic situation does leave it feeling somewhat bland.
  70. RED 2
    While Bruce Willis, John Malkovich, Helen Mirren, et al. are still good for a few chuckles as a gang of superannuated government assassins, this globe-trotting action-comedy diversion applies a bigger-is-better philosophy across the board, upping the stakes, the firepower and the travel budget, but keeping real thrills and laughs at a modest trickle.
  71. Europa Report
    Meticulously crafted by Ecuadorian helmer Sebastian Cordero and his team, this futuristic tale of astronauts searching for signs of life near Jupiter was ostensibly shot using cameras positioned aboard their spacecraft; their video diaries have been cannily reassembled into something coherent and genuinely compelling on their own low-key terms, if a touch over-earnest at times.
    • 53 Metascore
    • 50 Critic Score
    Broken
    Norris’ film does find a beating heart, if not exactly a focus, in the tender father-daughter relationship between Archie and Skunk, nicely underplayed by Roth and Laurence.
  73. The Conjuring
    A sensationally entertaining old-school freakout and one of the smartest, most viscerally effective thrillers in recent memory.
  74. The Lifeguard
    Lambert brings a forlorn dimension to his seductive young role, but Bell never really convinces as the older woman. Despite flirting with controversy, the actress seems reluctant to plunge fully into potential unlikability, nor does the film quite give her the chance.
  75. Wasteland
    It’s an overlong Northern British heist caper with a wildly uneven tone and a needlessly scrambled narrative, but it suggests a higher intelligence beneath, waiting to flower down the road.
  76. Iceberg Slim: Portrait of a Pimp
    “Portrait” abounds in the sort of ironies and contrasts that can make a biodoc fascinating even to auds totally unfamiliar with its subject.
  77. Grown Ups 2
    Among the slackest, laziest, least movie-like movies released by a major studio in the last decade, Grown Ups 2 is perhaps the closest Hollywood has yet come to making “Ow! My Balls!” seem like a plausible future project.
  78. Turbo
    Here, the laughs come not from the silly voices but a blend of snappy editing and clever character bits, including a recurring joke about an inappropriately named sidekick who calls himself White Shadow (Michael Patrick Bell).
  79. The World's End
    A fraction less gut-bustingly goofy than its predecessors.
  80. Les Coquillettes
    Les Coquillettes never comes off as an elaborate in-joke; instead it feels like a sincere attempt to convey what the very particular rush of a film festival, rarely seen onscreen, can feel like from inside the bubble.
  81. Mood Indigo
    The film frequently privileges art direction over emotion, and a constant sense of wonder based on visuals alone proves impossible to sustain over the lengthy 130-minute runtime.
  82. Sweetgrass
    Sweetgrass offers a one-of-a-kind experience.
  83. A Girl and a Gun
    More entertaining than especially revelatory, this timely documentary adds a sprightly note to a somber subject.
  84. Terms and Conditions May Apply
    Deftly balancing twin goals of informing and entertaining, the pic matter-of-factly details the various ways that marketers, multinational corporations, police departments and government-run intelligence-gathering organizations obtain and exploit info.
  85. Afternoon Delight
    Although there are moments when it feels the plot might move in unexpected directions, in the end, the expected cliches reign.
  86. Kevin Hart: Let Me Explain
    Once you get past an incredibly self-indulgent intro — an uncomfortably long mash-up of comedy sketch and road-trip-with-entourage doc that seems simultaneously apologetic and arrogant — you can enjoy approximately an hour of boisterously freewheeling and unabashedly raunchy funny stuff in Kevin Hart: Let Me Explain.
  87. Pacific Rim
    Although assembled with consummate care and obsessive attention to visual detail, Pacific Rim manages only fitful engagement and little in the way of real wonderment, suspense or terror.
  88. Just Like a Woman
    Although fronted by solid performances from Sienna Miller and Iranian actress Golshifteh Farahani as two desperate souls who bond over their shared love of belly dancing, this tale of friendship and rebellion on the open road reps a thin, obvious reworking of a well-worn template.
  89. The Crash Reel
    By turns pulse-quickening and contemplative, The Crash Reel is a thoroughly winning docu portrait of former pro snowboarder Kevin Pearce.
  90. The Lone Ranger
    Extravagant but exhausting...this over-the-top oater delivers all the energy and spectacle audiences have come to expect from a Jerry Bruckheimer production, but sucks out the fun in the process,
    • 41 Metascore
    • 10 Critic Score
    Hell Baby
    Tedious and tasteless in equal measure, the lazy horror parody Hell Baby gives grossout comedy a bad name.
  92. Thanks for Sharing
    Collectively, Thanks for Sharing boasts more than enough personalities to keep things interesting, but it lacks the casual spontaneity to make these characters’ journeys anything other than predictable.
  93. Breathe In
    While the plot — too low-key to be called a thriller — points toward obvious extramarital cliches, delicate changes in the overall mood reveal deeper truths.
  94. Adore
    A ludicrous melodrama that begs to be handled as an over-the-top sex farce is instead treated with the solemnity of a wake, albeit one with a rather lenient dress code.
  95. Petunia
    While the overall feel is a bit derivative and contrived, there are nonetheless plenty of bitingly sharp lines and performance moments to keep this well-cast ensemble piece percolating along.
  96. Elemental
    While written epilogues provide upbeat updates on the subjects’ endeavors, the overall impression is one of a draining uphill struggle for relatively little personal reward given the enormous stakes involved in the planet’s continued ecological destruction.
  97. The Heat
    Breaking it down, The Heat has been engineered to deliver the laughs, and the result certainly does, despite coming alarmingly near to botching the procedural elements along the way.
  98. Redemption
    A debut effort that occasionally bogs down in its own symbolism.
  99. White House Down
    Itself owing much to such lone-man-of-action hallmarks as “Die Hard” and “Speed,” this welcome throwback to an earlier, more generously entertaining era of summer blockbusters delivers a wide array of close-quarters combat and large-scale destruction, all grounded in an immensely appealing star turn by Channing Tatum and ace support from imperiled POTUS Jamie Foxx.
  100. The Girls in the Band
    Plentiful screen time for three generations of femme jazzers, led by energetic and witty gals from the golden age of big band and swing who unlock a treasure trove of memories, make this a real crowdpleaser.
Page:

Top Trailers

See all »
See all trailers »