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. 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.
  2. It’s all absorbing stuff, amply conveying the magnetism of a conflicted leader who drew fanatical adoration, yet who one suspects wasn’t easy company (especially in tandem with Love).
  3. Deliberately paced, sparely imagined and suffused with mystery, writer-director Rodrigo Garcia’s seventh feature is nonetheless quite lucid and accessible in its themes of empathy, compassion and sacrifice, and grounded by a Christ/Satan dual performance by Ewan McGregor that plays vastly better onscreen than it sounds on paper.
  4. A generous and briskly entertaining doc.
  5. John Maclean’s impeccably crafted writing-directing debut at times has a distinctly Coen-esque flavor in its mix of sly intelligence, bleak humor and unsettling violence, exuding fierce confidence even when these qualities don’t always cohere in the smoothest or most emotionally impactful fashion.
  6. At its best, The Summer of Sangaile captures the special intensity of those relationships in which everything seems to fade away save for the other person.
  7. Swanberg and co-writer Megan Mercier have crafted an incredibly generous film that wears its heart on its sleeve but never feels sappy or even sentimental.
  8. Garbus embraces Simone in all her multitudes and contradictions — or at least as many of them as can be comfortably squeezed into a 100-minute running time.
  9. The film offers surprisingly cogent, lived-in evocations of a period too often glossed over in impersonal, by-the-book montages.
  10. With his “Rocky” spinoff, Creed, writer-director Ryan Coogler confirms every bit of promise he displayed in his 2013 debut, “Fruitvale Station,” offering a smart, kinetic, exhilaratingly well-crafted piece of mainstream filmmaking, and providing actor Michael B. Jordan with yet another substantial stepping stone on his climb to stardom.
  11. The more vital subject of Mr. Holmes turns out to be our need for stories themselves and, in particular, the role of fiction as an escape from the pain and loss of everyday life.
  12. This first documentary directed by Ethan Hawke happily sidesteps any vanity-project pitfalls, granting full expression to Bernstein’s wise and witty commentary on a craft that he’s spent decades honing — as well as the proper application of that craft when the demands of art are often outweighed by the pressures of commerce.
  13. [An] engaging, elegiac portrait of a legend in the making.
  14. Above all, 45 Years is a drama of quiet restraint.
  15. A strange and often startlingly inspired media/mental-illness comedy.
  16. Audiences may come down from the high a little sooner than the film does, with the characters’ increasingly ill-considered actions testing our faith and engagements to the breaking point, but the sheer centripetal force of the film’s vigorous technique never loses its hold.
  17. Its visual and sonic verve more than compensate for some overworked symbolism.
  18. It’s a bizarre story not entirely clear in the telling — partly because we can’t be entirely sure when the subject is telling the truth — but absorbing nonetheless.
  19. There are moments when audiences will wonder if laughing about gangland whackings isn’t in bad taste, yet it becomes increasingly clear that the helmer-scripter is using humor to cut Mafia bosses down to size, thereby turning an accusatory glare at an Italy that granted these people power.
  20. The naturalistic style of the storytelling is stealthily enthralling, as is the lead performance by Margita Gosheva as a provincial Bulgarian schoolteacher who is slowly, inexorably driven to the edge by crushing debt.
  21. A joyous celebration of creativity and razor-sharp wit sustained into old age, as evinced by outspoken nonagenarian fashion icon Iris Apfel, Iris also offers proof of Albert Maysles’ continued vitality as a documentarian.
  22. With nearly five-decade screen veteran Ulfsak setting the wry, soulful tenor, Tangerines balances humor and seriousness in deft fashion, its delicacy abetted by all thesps and design contributions.
  23. First-rate assembly has a real dramatic grip as well as considerable lightheartedness, the obvious standout element being the large chunks of startling freefall and helicopter camera footage, both new and archival.
  24. Keaton plays Kroc as a man both pathetic and singularly possessed, cannily resisting lovability at every turn, while delivering the internalized self-help speak of his sales pitches with chillingly glib precision.
  25. As carefully crafted as the clothes is Tcheng’s well-considered direction, privileging the creative process over stereotyped glamour or backstabbing.
  26. Often poignant, occasionally pathetic, but never short of entertaining, Raiders! captures the obsessive hold movies have on young people’s imaginations.
  27. Nothing about the circumstances revealed in The Harvest could be called normal, and yet it’s a credit to a fertile imagination that the film proves so terrifyingly relatable.
  28. Munzi focuses on incongruous leftovers from a benighted past, where kinship and blood feuds in a marginalized corner of rural Italy fester until entire communities are drawn into a whirlpool of intimidation and violence. This is the film’s strong suit.
  29. A mesmerizing glimpse into Sarno’s search for a sub-Saharan Walden and the implications of that choice.
  30. Think of Kahlil Gibran’s The Prophet as a gift: a work of essential spiritual enlightenment, elegantly interpreted by nine of the world’s leading independent animators, all tied up and wrapped in a family-friendly bow by “The Lion King” director Roger Allers.

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