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. I Am Vengeance: Retaliation
    Here and there, amid the tedious sound and fury, you can spot some genuinely witty touches. Lynch and Shapiro are initially portrayed as flirty happy warriors who clearly delight in working with each other, and it’s a pity the movie didn’t make more of the chemistry generated between Robinson-Galvin and Benjamin.
  2. Selfie Dad
    A pleasantly predictable faith-based dramedy.
  3. Miss Juneteenth
    Miss Juneteenth richly captures the slow pace of ebbing small-town Texas life, even if you might wish there were a bit more narrative momentum to pick up the slack in writer-director Channing Godfrey Peoples’ first feature.
  4. You Should Have Left
    The movie won’t disturb your dreams, but it grabs hold of you and keeps tugging.
  5. Sometimes Always Never
    Riley, Nighy, Lowe and Agutter all find some truthful, moving place to work from, despite the ever-present threat of being upstaged by a kitschy sconce or an eye-jangling turquoise-and-pink color scheme.
  6. Tainted
    It’s compelling enough in its non-hyperbolic take on familiar genre elements, even if the depth of tragedy aimed for proves as much out of reach as any nerve-wracking suspense.
  7. 7500
    For its first half, 7500 is briskly effective in a cold-sweat sort of way, carrying its audience from a smooth takeoff to the first signs of disturbance to swiftly cranked all-out terror with the kind of nervy efficiency you can admire without exactly taking pleasure in it. In more ways than one, however, Vollrath’s technically adroit film has trouble sticking the landing.
  8. My Spy
    There’s hardly a surprise along the way but Bautista’s gruff charm and winning chemistry with talented young co-star Chloe Coleman (“Big Little Lies”) do just enough to carry a script by “RED” writers Jon and Erich Hoeber that pokes some good fun at action movie tropes but is hampered by too many groan-worthy gags.
  9. The Short History of the Long Road
    There is enough substance here to propel The Short History of the Long Road forward through its minor bends and speed-bumps. Most of all, it is Carpenter’s restrained performance and air of wisdom, permeating the screen with an astutely soulful quality that’s tough to turn away from.
  10. Exit Plan
    Exit Plan has been retitled from “Suicide Tourist” for its U.S. release, and while the original monicker was certainly punchier, the new one perhaps better captures the gist of a movie that’s ultimately a little too polite and vague to make much of its intriguing premise.
  11. Hill of Freedom
    Hill of Freedom, its noble implications lending outward grandeur to a romantic triangle that reps a cream puff even by Hong’s trifling standards. Cream puffs have their merits, though — principally the aerated, uncomplicated sweetness that characterizes this barely feature-length distraction, the light emotional foibles and regrettably careless cinematic construction of which are of a piece with the helmer’s swiftly produced recent work.
  12. The Surrogate
    That writer-director Jeremy Hersh’s debut feature is a screen original surprises, not because it’s “stagy” (though he has written plays), but because its engagingly argumentative virtues aren’t typical for movies anymore, if they ever were.
  13. Infamous
    One can always make the argument that it’s not absolutely necessary to have sympathetic protagonists for a drama to enthrall or enlighten. But Infamous pushes way, way too far in the opposite direction: Dean and especially Arielle seem so irredeemably psychotic even before they begin to mount a body count, you actively wish for them to be caught or killed.
  14. Artemis Fowl
    What a waste. Screenwriters Conor McPherson and Hamish McColl have taken a not-very-good book and turned it into a downright awful movie.
  15. 365 Days
    A thoroughly terrible, politically objectionable, occasionally hilarious Polish humpathon currently gasping and writhing its way up the Netflix charts.
  16. You Don't Nomi
    The fascination of You Don’t Nomi is that it doesn’t find some fatal contradiction among the three views. “Showgirls,” it says, is a bad movie that also is a tasty slice of kitsch that also is a flawed but honestly bracing drama.
  17. Da 5 Bloods
    The result is overlong and erratic, but also frequently surprising for a contemporary riff on the classic greed-doesn’t-pay parable “The Treasure of the Sierra Madre.”
  18. The King of Staten Island
    If there were any lingering doubts that Pete Davidson has what it takes to be a terrific actor, this movie should dispel them. In “The King of Staten Island,” he holds the screen with his blinkered, scurrilous, and oddly innocent I did-what? personality, and for the first time he makes the sociopathic goofball he’s playing a fully dimensional presence.
  19. Mighty Oak
    This is a fuzzy-headed, badly made cheeseball schlock fable for everyone!
  20. Judy & Punch
    The core narrative is rather simple, and the political metaphor not especially subtle. But the overall concept, from Foulkes and her trio of story collaborators, has a bracingly original air, from the film’s period anachronisms to its impressive design elements.
  21. Dreamland
    For all its salaciousness and scenery-chewing, it’s the dullness of Dreamland that provides further proof that dreams tend to be of fascination mainly — perhaps only — to the dreamer.
  22. Hammer
    The pileup of disasters is such that this tale might easily have been spun as some kind of grotesque comedy. But writer-director Christian Sparkes’ second feature plays it straight, narrowly evading viewer disbelief via strong principal performances and sufficiently urgent execution.
  23. The Last Days of American Crime
    It’s an offensive eyesore in which looting and anarchy are treated as window dressing, law and order come in the form of mind control, and police brutality is so pervasive as to warrant a trigger warning.
  24. We Are Freestyle Love Supreme
    It’s about as sweet to see friendship survive success as it is to see Lin-Manuel Miranda as the world’s most adorkable Beastie Boy.
  25. Wake Up: Stories from the Frontlines of Suicide Prevention
    This stirring documentary gives a comprehensive look at suicide through the lens of four at-risk segments of the population.
  26. The Deeper You Dig
    It’s a nicely economical tale of supernatural vengeance that benefits from its small scale and lived-in atmospherics.
  27. Days of the Bagnold Summer
    Even if the general ultra-clean cartoonishness of it all is deliberate, the film’s whisper-thin premise and sitcom-like characters are the cinema equivalent of Sweethearts candy: rather too sugared, and immediately forgotten.
  28. Becky
    Wilson’s nimble half-brat, half-she-devil performance is key to our buying the basic premise, aided by solid supporting cast contributions. James grows less intimidating the more dialogue he’s given in an otherwise trim script by marital duo Ruckus and Lane Skye.
  29. Feral
    This first narrative feature by cinematographer and documentarian Andrew Wonder is an intriguingly offbeat character sketch that falls somewhere short of a fully-rounded portrait. Nonetheless, his arresting subject matter and refined aesthetic make for a promising debut worthy of discerning viewers’ attention.
  30. I Will Make You Mine
    While the female leads reflect Chen’s desire to create richer parts for Asian actresses, the writer-director has said they also reflect facets of herself. That may be, but she’s written her character as the most aggravating of the three, which makes for a risky but also compelling ask of the audience.
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