Variety's Scores

For 17,771 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 2.5 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:
17771 movie reviews
  1. Claire Denis’ latest may appear whisper-thin on the surface, yet it’s marvelously profound, illuminating the love between a father and daughter but also highlighting the difficulty of relinquishing what most people spend a lifetime putting into place.
  2. Saavedra is riveting as a servant whose unblinking focus on her routine masks a profound loneliness.
  3. An enthralling docudrama that examines the Dutch master's most famous painting, "The Night Watch," for proof that it was responsible for his dramatic fall from grace.
  4. Unnervingly persuasive much of the time, and merely riveting when it's not.
  5. Deliberately paced, richly atmospheric drama also boasts first-rate work by a splendid supporting cast and impressive production values.
  6. A deeply rewarding throwback to the unself-conscious days when cinema still strove to be magical, The Secrets in their Eyes is simply mesmerizing.
  7. Though there's a formlessness to it all, the wow factor will thrill the "Earth" crowd, making Oceans a surefire bet for families and nature lovers.
  8. Eschewing character arcs and talking heads in favor of a more poetic approach, this lyrical exercise in avant-garde entomology is the work of an intuitive filmmaker with an often hypnotic sense of composition.
  9. Raw but utterly enveloping.
  10. Never Let Me Go is that rare find, a fragile little four-leaf clover of a movie that's emotionally devastating, yet all too easily trampled by cynics.
  11. A seductive, fascinating tapestry of small-town life.
  12. It stands as a unique film-within-a-film, of significance for the historical value of the raw images, the memories they spur and internal evidence of how the Nazis staged scenes long assumed to be real.
  13. A riveting account of how a soldier's death in Afghanistan was spun into a web of public lies.
  14. Conventional but rousingly effective picture.
  15. A wicked, sexy and ultimately devastating study of a young dancer's all-consuming ambition, Black Swan serves as a fascinating complement to Darren Aronofsky's "The Wrestler," trading the grungy world of a broken-down fighter for the more upscale but no less brutal sphere of professional ballet.
  16. Structurally, White Material unfolds like a novel, undoubtedly partly due to the work of Denis' co-scripter, author Marie N'Diaye. That said, it's still very much a Denis film, not just in the complexity of the characters and their motivations -- Huppert shoulders the narrative effortlessly, her strength and direction unwavering -- but in the framework and editing.
  17. Johnny Depp isn't the sort of star to blend in, so it's saying something that his turn as the world's most conspicuous chameleon in Rango is so full-bodied, you forget the actor and focus on the character.
  18. The filmmakers clearly value their public, crafting a splendid period swooner that delivers classic romance and an indelible insider's view of 1930s circus life.
  19. This at first slow-moving and then wildly kinetic actioner possesses a cool classicism that will appeal to offshore audiences as well as those at home.
  20. Once again, the DreamWorks team demonstrates that humor is the primary weapon in its arsenal.
  21. After undergoing some unfortunate mutations in recent years, a beleaguered Marvel movie property gets the smart, stylish prequel it deserves in X-Men: First Class.
  22. Clearly rejuvenated by his collaboration with producer Peter Jackson, and blessed with a smart script and the best craftsmanship money can buy, Spielberg has fashioned a whiz-bang thrill ride that's largely faithful to the wholesome spirit of his source but still appealing to younger, Tintin-challenged audiencs.
  23. The rare sequel that not only improves on but retroactively justifies its predecessor, this lightning-paced caper-comedy shifts the franchise into high gear with international intrigue, spy-movie spoofery and more automotive puns than you can shake a stickshift at, handling even its broader stretches with sophistication, speed and effortless panache.
  24. Nearly every detail sources directly back to Kaui Hart Hemmings' sensitively crafted novel, and yet, Payne's triumph is in striking the right tone -- and knowing what to leave unsaid.
  25. Not since "Scream" has a horror movie subverted the expectations that accompany the genre to such wicked effect as The Cabin in the Woods, a sly, self-conscious twist on one of slasher films' ugliest stepchildren: the coed campsite massacre.
  26. An inventive, meaty distillation of Le Carre's 1974 novel, picture turns hero George Smiley's hunt for a mole within Blighty's MI6 into an incisive examination of Cold War ethics, rich in both contempo resonance and elegiac melancholy.
  27. Working on a richer and more intricate canvas than she's previously attempted, Kelly Reichardt has pulled off a rare thing with Meek's Cutoff -- a low-budget period Western with a bracing feminist spin.
  28. Animism, apparitions, out-of-body experiences, sex with a catfish -- there's all that and more in Apichatpong Weerasethakul's wonderfully nutty Uncle Boonmee Who Can Recall His Past Lives.
  29. This exquisitely beautiful adaptation of Yann Martel's castaway saga has a sui generis quality that's never less than beguiling, even if its fable-like construction and impeccable artistry come up a bit short in terms of truly gripping, elemental drama.
  30. Helmer-writer Eric Mendelsohn returns with his first feature in a decade and the proposition that art film still has a place in the world -- which is an exhilarating idea, especially as represented by 3 Backyards, an exquisite example of calculated execution in pursuit of elusive ideas.
  31. Filtering the world's oldest paintings through the latest in cinematic technology, Werner Herzog delivers a one-of-a-kind art-history lesson in Cave of Forgotten Dreams.
  32. While The Dark Knight Rises raises the dramatic stakes considerably, at least in terms of its potential body count, it doesn't have its predecessor's breathless sense of menace or its demonic showmanship, and with the exception of one audacious sleight-of-hand twist, the story can at times seem more complicated than intricate.
  33. Michael Winterbottom's The Trip is about 20 minutes too long, but the other 90 are among the funniest in recent memory.
  34. Enormously entertaining chiller.
  35. An exquisite, beautifully acted gem of a film, one that should serve as a prelude to bigger things for stars Felicity Jones and Anton Yelchin, as well as director Drake Doremus.
  36. The issues come clashing together in an explosive package that, despite some snafus, remains fairly riveting to the end.
  37. Markedly grander in scale, although never at the expense of its richly human (and half-human) characters, “Into Darkness” may not boldly go where no “Trek” adventure has gone before, but getting there is such a well-crafted, immensely pleasurable ride that it would be positively Vulcan to nitpick.
  38. If necessity is the mother of invention, then DreamWorks’ desire to extend the Dragon franchise has propelled the creative team in the most admirable of directions, resulting in what just may be the mother of all animated sequels.
  39. Reteaming pop-savvy scribe Diablo Cody with "Juno" director Jason Reitman, Young Adult revels in breaking the rules of safe Hollywood storytelling.
  40. An exquisitely realized adaptation of Lionel Shriver's bestselling novel. In a rigorously subtle performance as a woman coping with the horrific damage wrought by her psychopathic son, Tilda Swinton anchors the dialogue-light film with an expressiveness that matches her star turn in "I Am Love."
  41. Feminist without the arrogance of 20-20 hindsight, vividly precise in its depiction of 18th-century pre-revolutionary France (the filmmakers were allowed to shoot inside Versailles), alive with exuberantly thesped personages and awash in the joy and power of music, the picture is a stunner.
  42. [Francis] Lawrence and his team have calibrated the entire experience for maximum engagement. And while its pleasures can’t touch the thrill of seeing the Death Star destroyed — not yet, at least — the film runs circles around George Lucas’ ability to weave complex political ideas into the very fabric of B-movie excitement.
  43. Tense and narratively complex, formally dense and morally challenging.
  44. Bracingly original, alarming and droll, the righteously ribald Rid of Me should prove a breakthrough for helmer James Westby and his producer and leading lady, Katie O'Grady.
  45. Focusing on the absurdly ultraviolent tit-for-tat tussles among a trio of Tokyo crime families, the film is a beautifully staged marvel that confidently reasserts Kitano's considerable cinematic gifts.
  46. Offering further proof that the latest 3D technology is good for a lot more than just lunging knives and fantastical storylines, Wim Wenders' dance docu Pina reps multidimensional entertainment that will send culture vultures swooning.
  47. Never one to shy away from unlikely sources of comedy, David O. Russell tackles mental illness, marital failure and the curative powers of football with bracingly sharp and satisfying results in Silver Linings Playbook.
  48. Far more ambitious than "The Hurt Locker," yet nowhere near so tripwire-tense, this procedure-driven, decade-spanning docudrama nevertheless rivets for most of its running time.
  49. Destined to rank as one of the major achievements in American documentary, the "Paradise Lost" project comes to a presumed end with Paradise Lost 3: Purgatory.
  50. Similar in its battlefield passages to last year's Danish-made "Armadillo," Dennis' film scores a layered perspective that follows Marine Sgt. Nathan Harris into combat and back home.
  51. Jeter's film takes on the quality of a sustained dream, as if the theatrical conceits of Jean Genet were married to a children's story retold via William Faulker's Southern brand of stream of consciousness.
  52. Standing at his balcony, filming the revelry with his iPhone, he seems to be saying that directing is more defiant an act than lighting a firecracker or two. Truth be told, Panahi's poignant "Film" is infinitely more explosive.
  53. Pablo Larrain's breathtaking visual command makes for enthralling viewing in Post Mortem, a rigorous, formally controlled yet emotionally gripping drama set during Chile's bloody 1973 military coup.
  54. The writer-director's typically eccentric sixth feature is a sustained immersion in a series of hypnotic moods and longueurs, an imposing picture that thrillingly and sometimes maddeningly refuses to conform to expectations.
  55. A concise overview's clarity and an epic narrative shape, with a happy ending to boot.
  56. A wise and impeccably controlled drama that finds Russian helmer Andrei Zvyagintsev in outstanding form.
  57. Departing from two decades' worth of domestic and personal dramas and returning to his roots as Japan's maestro of mayhem, Kinji Fukasaku has delivered a brutal punch to the collective solar plexus with one of his most outrageous and timely films.
  58. A film of tenderness and humor married to the unlikeliest of subjects.
  59. If the characters’ quandaries at times feel overly circumscribed, they’re also advanced with a bracing emotional directness, devoid of either cynicism or sentimentalism, that touches genuine chords of feeling over the course of the film’s fleet 130-minute running time.
  60. Tension flows organically from every phase of this dangerous endeavor, making for a highly entertaining outing for operaphiles and operaphobes alike.
  61. A sensationally entertaining old-school freakout and one of the smartest, most viscerally effective thrillers in recent memory.
  62. A riveting tale of a onetime vivacious personality, described by those who knew her as "stunning," "lovely," and "very well liked," but who nevertheless died alone, friendless and seemingly missed by nobody.
  63. Although laid out with such clarity that any layperson could catch the gist of what's being discussed, Side by Side is not afraid to get nitty-gritty about more technical matters.
  64. Amy Berg's clear, captivating, indignant film carves out its own significant place in criminal-justice cinema, makes new and startling revelations into the triple-murder mystery, and is visually spectacular to boot.
  65. Here, the visuals outdo anything we’ve seen before, to such a degree that we might almost overlook the subtler innovations in the character animation: the nuances of expression on both the human and reptilian faces, and the wonderful nonverbal tactics these artists use to convey emotional intricacies neither Hiccup nor Toothless have had to communicate before, all of which pays off in an unforgettable final scene.
  66. The kinetically shot concert footage captures the volatile dynamic between performers and audience, as Mick Jagger's provocative posturing is followed by fans storming the stage.
  67. The circumstances may be contrived, but the characters feel refreshingly genuine.
  68. A stellar performance by Alan Cumming as the cross-dressing crooner-cum-caretaker is the picture's most marketable asset.
  69. Imamura's square-framed, black-and-white imagery, in all its various stylistic incarnations, proves as compelling through the docu's myriad detours as in any of his better-known psychological thrillers.
  70. While Leon’s script can’t help but be episodic as the characters scheme their way out of one scrape after another, their shenanigans are compulsively watchable, brimming with enough details to make this modest film grow large in the memory.
  71. Even more than in "Our Beloved Month of August," Miguel Gomes begins Tabu in a seemingly ridiculous vein and unexpectedly shifts to something surprisingly enriching and poetic.
  72. Assembled from three years’ worth of visits to one of the world’s most volatile hot zones, the format of Stolen Seas is as every bit as exciting as its content, raising beguiling questions about how the team managed to acquire the footage so stunningly interwoven by editor Garret Price.
    • 88 Metascore
    • 90 Critic Score
    Performances by the earnest Fox, the lunatic Lloyd, the deceptively passionate Lea Thompson, and, particularly, the bumbling-to-confident Glover, who runs away with the picture, merrily keep the ship sailing.
    • 55 Metascore
    • 90 Critic Score
    Recovers the style, wit and grandiose fantasy elements of the original. The simplicity of plot, and the wide expansiveness of its use of space, are a refreshing change from the convoluted, visually cramped and cluttered second part.
  73. Sweetgrass offers a one-of-a-kind experience.
    • 81 Metascore
    • 90 Critic Score
    Bruce Beresford's sensitive direction complements Alfred Uhry's skillful adapation of his Pulitzer Prize-winning play.
  74. The beauty of the footage is undeniable, and the aimlessness never overstays its welcome as the film documents that strange stretch in our lives when nothing seems to matter more than the present moment, suspended in a sort of idle immortality.
  75. Skillfully adapted from Tim Tharp's novel, evocatively lensed in the working-class neighborhoods of Athens, Ga., and tenderly acted by Miles Teller and Shailene Woodley, this bittersweet ode to the moment of childhood's end builds quietly to a pitch-perfect finale.
  76. This two-ton prestige pic won’t win the hearts of highbrow critics or those averse to door-slamming, plate-smashing, top-of-the-lungs histrionics, but as a faithful filmed record of Letts’ play, one could have scarcely hoped for better.
  77. It’s a rich, glorious mess, and its underlying craftsmanship is apparent in the characters’ beautifully delineated relationships, each with its own jangly rhythm and distinct feel.
  78. Precision-honed performances and a nonsensationalistic approach distinguish this impressive first feature from French helmer Alexandre Moors, which avoids pat explanations as it offers a speculative glimpse into murderous minds.
  79. One of the assets of Stranger Things is its air of mystery, and the actors give the indelible impression that they have much locked away inside.
  80. Repulsive and sublimely beautiful, arguably celebratory and damning of its characters, it’s hideous and masterful all at once, “Salo” with sunburn.
  81. This compelling human drama finds fresh energy in the inspirational-teacher genre, constantly revealing new layers to its characters.
  82. The unknown cast is aces, and Moshe inscribes his loquacious film in the Western tradition without overdoing the references to the classics.
  83. To call Lake Bell a magnetic, intelligent, blithely screwball leading lady in the Carole Lombard tradition might be selling her short. With In a World… , a rollicking laffer about the cutthroat voiceover biz in Los Angeles, she proves herself a comedy screenwriter to be reckoned with.
  84. Cooper seems to make actors feel safe and willing to expose themselves in ways they ordinarily might not, and time and again he takes scenes to places of unexpected emotional power.
  85. An impressively crafted drama laced with darkly comic humor.
  86. A gossamer debut feature that compensates for its lo-fi look with glimpses of profound humanism.
  87. Jean-Francois Laguionie’s consistently enjoyable, inventive and beautifully crafted tale is a color riot suitable for all ages.
  88. 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.
  89. Icily disquieting rather than scary, the film is less an exercise in narrative than in tonal mastery.
  90. In the Fog explores the moralities of wartime with restraint and exacting execution.
  91. Sorrentino continues to tackle major topics using an extraordinary combination of broad brushstrokes and minute detail. Passion via the intellect has become his trademark, well suited to this dissection of empty diversions, indulged in by latter-day Neros fiddling while Rome burns.
    • 88 Metascore
    • 90 Critic Score
    As a precise observation of British types and a virtuoso piece of carefully observed ensemble playing, the film would be hard to beat.
    • 65 Metascore
    • 90 Critic Score
    One of Robert Altman’s most cinematically conventional films as well as one of his most deeply personal.
  92. The dialogue — natural, vibrant and totally embedded in the moment, never sententious or showoff-y — is delivered with consummate believability by an excellent cast.
  93. 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.
  94. 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.
  95. At this finely tooled tragedy’s core towers Emilie Dequenne, no longer the feral young thing seen in 1999′s “Rosetta,” but a trapped animal pushed to devastating extremes.

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