Variety's Scores

For 17,794 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 2.4 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:
17794 movie reviews
  1. An intoxicating blend of exotic travelogue, death-defying derring-do, and affecting profiles in courage and perseverance.
  2. An intelligent, solidly argued and almost too-polished takedown of America’s spin factory — that network of professional fabricators, obfuscators and pseudo-scientists who have lately attempted to muddle the scientific debate around global warming — this is a movie so intrigued by its designated villains that it almost conveys a perverse form of admiration, and the fascination proves contagious.
  3. While Rondon’s focus is the struggle of wills between a boy awakening to homosexual feelings and his embittered mother, the helmer invests their collision with a powerful specificity.
  4. Clearly regarded with great affection by his mentors (as well as supporters like Richard Gere), Vreeland makes very pleasant company... The directors adopt a similarly unpretentious, bemused tone in following him around.
  5. Canny and funny in equal measure, it’s a film that embraces technology — just like it does its protagonist — on its own perfectly imperfect terms.
  6. While not equaling the depth of characterization of Farhadi’s previous films, About Elly takes the complexity of his storytelling to a fascinating level. However, the variable quality of the thesping also prevents the pic from being his best work.
  7. The documentary moves with the same fluidity that characterizes Peck’s choreography.
  8. Though Fanon’s words serve to justify the seemingly unconscionable — violence — the film ends with a very different call to action, one that stresses the need for “new concepts,” as if trying to calm the blood the film has brought to a boil over the dense and daunting 80-odd minutes that have come before.
  9. It’s to the credit of “She’s Beautiful” that it seems neither hectic nor glib despite the enormous amounts of material that doubtless had to be excluded to fit a single feature’s frame.
  10. Though realized on a more modest scale than other Aardman features, the film is still an absolute delight in terms of set and character design, with sophisticated blink-and-you’ll-miss-it detailing to counterbalance the franchise’s cruder visual trademarks.
  11. The eighth entry in Disney’s eco-minded Disneynature series, Monkey Kingdom may well be its cheekiest, funniest and most purely entertaining.
  12. A slick, stylish drama, Human Capital starts as a class critique wrapped around a whodunit, and though the mystery elements have overtaken the social assessment by the final third, the pic remains an engrossing, stinging look at aspirational parvenus and the super-rich they emulate.
  13. Distinguished by exquisite performances from Emmanuelle Devos and Mathieu Amalric as a bourgeois couple unsure when to call time on their marriage, the pic initially follows the dry, droll template set by so many tasteful French relationship dramedies, before venturing into less comforting emotional territory for its final act.
  14. Maintaining the buoyant heartbeat beneath all the digital flash, Favreau never loses sight of the fact that he’s making an adventure story for children.
  15. Eventually, the quixotic “search” of the movie’s title seems secondary to that more arduous quest of so many Chinese-Americans to find their place in a country that did not always welcome them with open arms, and how food forged the path of least resistance.
  16. An utterly brazen mix of screwball comedy, film noir and sharp social commentary that hits its own strange bullseye more often than not, Bozon’s third full-length feature (and first since 2007’s WWI musical, “La France”) benefits immeasurably from actors willing to go as far out on a limb as their intrepid director.
  17. The odd mix of elements makes for an alternately (and sometimes simultaneously) hilarious and unsettling whole.
  18. The character development here is understated but beautifully laid bare by a quartet of top actors.
  19. This explosive reunion between Damon and director Paul Greengrass further reveals key secrets about Bourne’s origins, bringing its lethal protagonist as close as he’s ever likely to get to total recall.
  20. You’d think the concept would now be wearing thin, but Election Year, which feels like the final chapter in a trilogy...is the best “Purge” film yet. The action is excitingly sustained in a way that it wasn’t in the previous two, and the political dimension, while crude as hell, exerts a brute-force entertainment value.
  21. This nostalgia-drenched rockumentary remains a hugely entertaining treasure trove of witness-at-creation anecdotes and enduringly potent ’60s pop hits.
  22. Spectacularly honoring the spirit and aesthetic of Mamoru Oshii’s beloved animated adaptations without resorting wholly to slavish cosplay, this is smart, hard-lacquered entertainment that may just trump the original films for galloping storytelling momentum and sheer, coruscating visual excitement — even if a measure of their eerie, melancholic spirit hasn’t quite carried over to the immaculate new carapace.
  23. Yonebayashi’s open-hearted tale, more than any other Ghibli offering, could conceivably have worked just as well in live-action, and yet the tender story gains so much from the studio’s delicate, hand-crafted approach.
    • tbd Metascore
    • 80 Critic Score
    One of the quirkiest Swedish films of recent memory, “The Guitar Mongoloid” has all the makings of a cult classic.... A dark, but also humorous, depiction of a society with lonely people and sudden outbursts of violence.
  24. This adaptation of Phoebe Gloeckner’s heavily autobiographical novel is ideally cast and skillfully handled.
  25. Familiar in its general trajectory, but unusually raw and ragged in its emotional architecture, Mond’s fraught portrait of a mother and son in crisis sports a pair of knockout performances by Cynthia Nixon and “Girls” alumnus Christopher Abbott.
  26. The fun momentum of Dope’s breakneck plotting and snappy dialogue easily overcome any momentary attack of earnestness.
  27. For all the impressive authenticity of the various settings, it’s Gerry and Curtis’ continually evolving push-pull dynamic that deservedly takes centerstage here, in a picture driven far less by narrative incident than by its gently pulsing comic undercurrents and vivid contemplation of character.
  28. Once he’s worked through the basic set-up, Bujalski puts the plot on the back burner and lets his characters collide and ricochet off one another with a laconic comic grace.
  29. Take it or leave it, Alverson’s fourth feature is singular stuff, and it reconfirms the director as one of the truly bold voices in the all-too-homogenous U.S. indie film scene.

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