Variety's Scores

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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
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  1. Jinsei
    Jinsei is magnificently singular: intensely personal, wildly hypothetical and so thrillingly new it feels it might itself have come from some version of the vividly strange future it imagines.
  2. Bang My Box: The Robin Byrd Story
    At a compact 79 minutes, “Bang My Box,” directed by Jyllian Gunther and Stephanie Schwam, packs in everything you need to know about Robin Byrd.
  3. Iron Boy
    It is, in a word, lovely.
  4. Lucky Strike
    Lucky Strike isn’t a raw combat drama so much as a lone-wolf genre film, something that feels tidier and maybe safer. Lurie stages it with skill; it’s not like what happens is predictable. But it’s not enthralling either.
  5. jackass: best and last
    What binds and lifts all this foolery is the palpable love they have for what they do, and the other people doing it. You leave “Jackass: Best and Last” believing that they’ll actually miss all this, and that’s enough to make us miss it too.
  6. Supergirl
    Supergirl plods along, poised between sodden spectacle and snark.
  7. Minions & Monsters
    Even as it ultimately bends to convention, the film is such a weird, willful popular entertainment for much of its (blessedly snappy) running time that it holds your goodwill: It’s almost bellissima but it’s fully, madly moviosa, and that’s more than the seventh entry in any animated franchise has a right to be.
  8. Citizen Vigilante
    The film is so astonishingly bad, it almost feels like the writer-director-producer is deliberately sabotaging his star Armie Hammer, whose intended comeback can only be harmed by this project.
  9. Finnegan's Foursome
    He’s trying to stay true to his world (all the Irish chop-busting and piss-taking), but he hasn’t grown as a filmmaker. Then again, maybe that’s not so important. He doesn’t hit long drives, but by the end of Finnegan’s Foursome the ball is in the cup.
  10. Voicemails for Isabelle
    For all its otherwise precision-engineered sweetness, “Voicemails for Isabelle” doesn’t find its way there. Which is a shame, because Zoey Deutch and Nick Robinson — two reliably likable actors, alike in age, genre credentials and button-cuteness — do everything in their power to make you believe.
  11. The Wave
    Even at its most formally playful, the film is marked by an earnestness of tone that makes it feel like work, especially given a two-hour-plus runtime that exposes the repetitiveness of its rhetoric and the sparseness of its drama.
  12. Girls Like Girls
    Alive to both the soul connection and the bodily itch of these intimate, unwieldy, personally uncharted feelings, Kiyoko’s uncommonly lovely teen movie matches the dizzy, obsessive ecstasy of the song that inspired it.
  13. Toy Story 5
    It’s a sublime summing up, a movie that reflects the whole series in its magic mirror, and (just maybe) a perfect ending.
  14. I Am Frankelda
    Mexico’s answer to “The Nightmare Before Christmas,” the Ambriz brothers’ beautifully idiosyncratic I Am Frankelda was obviously influenced by Del Toro’s darkly whimsical oeuvre; thus, it makes sense that the director of “Frankenstein” has been a supporter and mentor to these younger compatriots in their pursuit of stop-motion greatness. They are well on their way.
  15. Stop! That! Train!
    More than their civilian counterparts, viewers familiar with “Drag Race,” its superstars and its lore will likely get much out of watching the cast trade on or tweak the personae for which they’re known on stage. But notwithstanding its queer-friendly lexicon (much of which has infiltrated social media anyway), Shankman’s film is an easily accessible, unexpectedly ingratiating experience.
  16. The Furious
    An astonishing bloodbath of brute hand-to-hand combat, highly resourceful weaponry and gnarly bodily contortions, “The Furious” is such a feat of mass physical coordination that such niceties as character and narrative can afford to be an afterthought. Here’s a film where you come for the fighting and stay for the fighting, and are unlikely to feel shortchanged.
  17. O Horizon
    The gauziness of the thesis here is matched by the generality of the characters and their lives.
  18. Carolina Caroline
    Adam Carter Rehmeier‘s thriller, like many a good B-movie, adds up to more than the sum of its parts, with star power and star chemistry its major elevating, unquantifiable factors.
  19. The Death of Robin Hood
    The Death of Robin Hood holds our attention for the sheer severity of its reinvention, the rooted, hessian-rough vividness of its ruined world, and its earnest, complex preoccupation with matters of the soul — a vanishingly rare virtue in the multiplex in general, let alone in the realm of endlessly repurposed IP.
  20. Honeyjoon
    The movie delivers subtext aplenty, overflowing in ways that help overcome its reserved exterior and make for an unobtrusive comedy-drama that, on occasion, comes close to working.
  21. Disclosure Day
    Disclosure Day turns out to be a lavishly intense chase thriller with a dollop of deep-think rumination and two characters at its center whose own close encounters have shaped their lives and destinies. Scene for scene, the movie is a vigorous and diverting ride. Yet coming after the mountains of real UAP footage we’ve seen, Disclosure Day never gives you the contact high of awe that “Close Encounters” did.
  22. Unidentified
    It’s the rare movie whose every artistic intention can be easily identified, but whose emotional effects are never discovered.
  23. México 86
    As a study of how the World Cup sausage is made, the film could go deeper and dirtier; as a crowdpleaser about the business of crowdpleasing, it’s more or less on point.
  24. Savage House
    Performed with gusto by Richard E. Grant and Claire Foy, as a couple of Georgian grotesques sacrificing everything to host the aspirational dinner party of their dreams, it derives an odd poignancy from the smallness of its stakes, and the severity of its consequences.
  25. Earth, Wind & Fire (To Be Celestial vs. That's the Weight of the World)
    In “Earth, Wind & Fire,” Questlove tells the band’s story, and Maurice White’s story, in a way that’s at once thrilling and haunting. He captures their rightful place in the pop cosmos.
  26. Office Romance
    It sinks into its star power as one would into a warm bath, and if the appealingly scrappy Goldstein doesn’t match that voltage, that’s largely the point.
  27. Scary Movie
    It’s jammed with spoof-genre history, but that makes it feel more exhausting than exhilarating. It’s a top-heavy satirical party that’s become so meta it’s meh.
  28. Masters of the Universe
    It’s a nostalgia trip that never quite belongs to the present, and never rouses any real, cherished memory of the past.
  29. Atonement
    Atonement comes to a place that, in a lesser film, might appear sentimental but in this one is bracingly real. You can feel the movie burning away the fog of war.
  30. Time and Water
    In telling this one family’s story and examining their connection to the land they were born into, Dosa makes an affecting documentary about a looming danger that many are ignoring.
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