Variety's Scores

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For 17,782 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:
  1. Positive: 9,136 out of 17782
  2. Mixed: 7,010 out of 17782
  3. Negative: 1,636 out of 17782
17782 movie reviews
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  1. The Grizzlies
    Like any good, inspirational athletic adventure, the film forges a strong connection with the human side of the story.
  2. Human Nature
    The real achievement of Human Nature is that it takes a complex subject and distills it into such an engaging 95-minute package. That’s the successful experiment underlying this particular project, in which viewers happen to serve as the guinea pigs in how such technical information can be presented in a more effective way.
  3. Atlantis
    As cinematographer and editor in addition to writer, director and producer, Vasyanovych is very much in charge of a vision whose aesthetics are rigidly controlled. The ironically titled “Atlantis” may well alienate some viewers with its austerity, but those willing to tough it out will feel rewarded.
  4. Hooking Up
    In spite of its tweaks to gender roles, the duo’s sexcapades and Snow’s spirited performance, Hooking Up doesn’t offer much by way of surprise, which doesn’t mean that as the odd, amiable couple head toward their personal reckonings, you won’t find yourself rooting for them. Separately and together.
  5. The Platform
    Once the major ideas are on the table, the momentum wobbles and The Platform trades thrills for the empathetic weight of imprisonment. There’s more blood and less hope, though Aranzazu Calleja’s music box-inspired score can lighten the mood to that of a storybook fable.
  6. Phoenix, Oregon
    The sort of movie a lot of us need right now. It’s an undemandingly enjoyable and reassuringly predictable dramedy in which nothing, not even the sourball attitudes of its comically unpleasant malcontents, ever is allowed to get out of hand or unduly strain credibility. But it also is too playfully spiky and unaffectedly down-to-earth to come across as bland pablum.
  7. The Dog Doc
    This documentary is not an infomercial for the Smith Ridge Veterinarian Center, but rather a wildly compassionate call to arms for a profession in need of advancement.
  8. Inside the Rain
    Inside the Rain is so fresh and audacious in so many ways that it’s a bit of letdown when it leans heavily on the cliché of the Gold-Hearted Hooker — or, in this case, the Gold-Hearted Porn Actress and Part-Time Escort — to provide Benjamin with inspiration, emotional support, and, most important, a female lead for his film.
  9. Stargirl
    While it suffers from a rocky beginning with burdensome amounts of kook and quirk, the unfolding spell it subtly casts holds profundity and wisdom.
  10. The Postcard Killings
    This uninspired detour into impersonally commercial English-language terrain for Bosnian director Danis Tanovic (an Oscar winner for 2001’s “No Man’s Land”) should provide Patterson’s fans and undemanding miscellaneous viewers with an acceptably slick if not-particularly-suspenseful crime potboiler for home viewing.
  11. The Roads Not Taken
    The movie is an exasperating puzzle with most of the pieces missing.
  12. Heimat is a Space in Time
    The overall effect of Heise’s work is mesmeric, persuasive and cumulatively powerful, as each piece of the puzzle falls into place and he lands on overarching insights into a German century and what it portends for the future.
  13. I Still Believe
    Thanks to the immensely appealing performances by Apa and Robertson, it’s easy for the audience to take a rooting interest in the sometimes awkward, sometimes amusing development of the budding romance between Jeremy and Melissa.
  14. The Hunt
    The Hunt turns out to be a good deal smarter — and no more extreme — than most studio horror films, while its political angle at least encourages debate, suggesting that there’s more to this hot potato than mere provocation.
  15. Bloodshot
    Bloodshot is a trash compactor of a comic-book film, but it’s smart trash, an action matrix that’s fun to plug into.
  16. Kill It and Leave This Town
    An utterly bizarre, frequently grotesque, occasionally obscene singularity, Polish artist Mariusz Wilczynski’s abrasive animation Kill It and Leave This Town exists so far outside the realm of the expected, the acceptable and the neatly comprehensible that it acts as a striking reminder of just how narrow that realm can be.
  17. Resistance
    Resistance tells a story that’s plenty strong on its own terms, and if anything, it’s a bonus that one of the key participants should survive to become famous. Afforded depth and gravitas by Angelo Milli’s string score, the film hardly needs the framing device in which Ed Harris appears as Gen. George S. Patton, regaling his troops with Marceau’s story before inviting him onstage for his first public show.
  18. Last and First Men
    A ravishing 70-minute audiovisual essay on human mortality, extinction and legacy — all the more poignant for being its maker’s final creative statement.
  19. Spenser Confidential
    The film even pokes fun at itself in the process, fully aware that Spenser Confidential isn’t meant to be taken as seriously as Wahlberg’s last few movies — and just as well, since irreverence plays well on Netflix.
  20. Escape from Pretoria
    Francis Annan’s film works effectively as a straight-up jailbreak thriller, well-oiled in greasy B-movie tradition. It’s when it shoots for more historical import that it falls somewhat short.
  21. The Dark Red
    An overcomplicated stew of apparent madness, conspiracy, supernatural powers and revenge whose narrative elements never quite mesh or even come to full fruition individually. Nonetheless, this quasi-horror mixed bag will hold viewers’ attention for its originality even as it flags in both credibility and suspense.
  22. Only
    An absorbing post-catastrophe drama.
  23. Run This Town
    Run This Town offers some sharp observations about the struggle to provide anything like watchdog journalism in an age of diminished budgets and readership.
  24. The Booksellers
    The Booksellers is a documentary for anyone who can still look at a book and see a dream, a magic teleportation device, an object that contains the world.
  25. Go Back to China
    The capable cast and brisk pacing keep attention held toward a happy ending that pleases even if it is a bit pat, not to mention inevitable.
  26. The Banker
    You may wish that you were reading about these events in The New Yorker, because the movie is so choked with neutral detail that it’s a little bloodless. It lacks fire.
  27. The Way Back
    I’d love to see Affleck star in a film about an addict with nothing to explain his addiction but his own flawed, desperate, hungry soul. That’s a movie that could speak to us — the way that Ben Affleck’s real story already does — far more than this modestly well-made Sunday-school lesson.
  28. The Trouble with Being Born
    Sandra Wollner’s The Trouble With Being Born inspires nothing but strange feelings, from unnerving horror to shocked admiration to visceral disgust to that specific type of disorienting nausea that comes from the fractional delay between your eye processing a well-composed image, and your brain comprehending the implications of the actions so coolly depicted.
  29. Saint Frances
    Turns out there are a lot of things that have gone unsaid in movies until now, and Saint Frances goes there in a way that’s not only enlightening, but entertaining as well. This exceptionally frank, refreshingly nonjudgmental indie was written by and stars Kelly O’Sullivan, a “girl next door” type whose no-nonsense approach to issues facing both her gender and her generation leaves ample room for laughter — à la Amy Schumer’s “Trainwreck.”
  30. There Is No Evil
    There Is No Evil comes across as four films for the price of one, none of its segments anemic, and each contributing fresh insights to the paradoxes of capital punishment in Iran.
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