Variety's Scores

For 17,758 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:
17758 movie reviews
  1. Heady almost to a fault, Daniela Forever is all concept, all the time. Vigalondo’s screenplay is much too schematic and analytical for its own good.
  2. As the celluloid universe spun from Bram Stoker’s “Dracula” continues to accrue remakes, spin-offs, addendums and miscellany, “Boys” does provide one potentially compelling footnote. But its execution feels like a missed opportunity.
  3. Beyond all the legal and even medical specifics resides a sense of communal understanding, and — at the risk of sounding mawkish — a deep and abiding love for one’s fellow human beings, which Feder taps into with aplomb.
  4. The new movie isn’t “dark” (Zack Snyder’s ambitious mistake) so much as it’s a loopy, spinning, multifaceted story with genuine emotional stakes. That’s why it treats Superman’s powers as the most spectacular and least interesting thing about him.
  5. Provazník’s focus is not on trauma, and it’s fitting that such a sensitive, understated treatment of real-world abuse should end on a poignant note of solidarity.
  6. Donnelly seems reluctant to embrace melodrama at the same time that he fails to provide the psychological detailing needed to elevate this story above stock genre expectations.
  7. “Nobody” director Ilya Naishuller takes gags that have no business working . . . and milks them for laughs, adding original solutions to otherwise familiar action scenes.
  8. for all the talk of centuries gone by, “The Old Guard 2” feels like a time-tripping action fantasy made on the cheap.
  9. The movie offers an updated version of the same basic ride Spielberg offered 32 years earlier, and yet, it hardly feels essential to the series’ overall mythology, nor does it signal where the franchise could be headed.
  10. Sparkling like a rhinestone in the rough, Ponyboi stands out amid a lineup of cartoon gangsters, tough-guy dealers and gum-smacking prostitutes — lowlifes recycled from a hundred late-night cable movies with superficially similar plots.
  11. This half-baked potboiler leaves one with the nagging suspicion that it was produced simply to meet some sort of quota, and cast with actors who came on board only because they lost bets.
  12. Lavender Men is a heady and meta-theatrical excavation of Lincoln’s long-rumored gay affair that’s wildly ambitious if a tad overstuffed.
  13. Malformed comedy and character beats keep the movie feeling like a rough first draft.
  14. M3GAN 2.0 is amusing at moments, overblown at others. Here’s hoping that “M3GAN 3.0” is brasher, funkier, crazier.
    • 90 Metascore
    • 100 Critic Score
    It is the greatest and most elaborate comedy ever filmed, and will stand for years as the biggest hit in its field.
  15. Because the nimble, genre-hopping movie is set in the world of K-pop, it may not even occur to fans that they’re watching a musical — although it’s kind of hard to deny as you catch yourself singing along.
  16. Inside has a suspense hook to drive it forward and a climactic violent set piece, if not quite the one we were expecting. But the question of who’s going to kill or get killed ultimately proves less important than how their pasts have shaped these men — or rather trapped them, like quicksand.
  17. It is engrossing stuff, as a cautionary tale as well as a taste of the spirit that leads people into explorations more bold than wise. The lure of the ocean’s mysteries (and the Titanic’s enduring romance) are vividly conveyed.
  18. When you’re simply looking for something semi-interesting to stream, stories like these don’t necessarily require great actors, but great actors are the reason some of them still reverberate in our memory decades later.
  19. In “Something Beautiful,” with the songs employed as catwalk power anthems, you see how Miley Cyrus, in elevating her erotic aura, is trying to be a performer of mystery — to let her beauty singe our eyeballs, to let it vibrate into the cosmos. Yet it’s all a little insular.
  20. Barbara Walters Tell Me Everything is a documentary a lot like its subject. It’s sharp and inquiring in a playful way. It asks friendly questions but knows just when to toss in a tough one. It sizes up important people with clear-eyed worldly perception, but it’s also enthralled by the seductions of fame and money and power.
  21. The message feels muddled amid all the pratfalls and fart jokes.
  22. Its aesthetic approach seldom lives up to its gestures toward camp as a guiding principle or its weighty themes (except, perhaps, in its surprisingly raucous final act). However, its flimsy aesthetic foundations are supported by remarkably well-formed characters.
  23. Typically, we look to adrenaline-fueled entertainment for catharsis. Boyle’s thrilling reboot offers enlightenment as well.
  24. It’s not just a wallow in nostalgia: It also stands on its own merits as a satisfying entertainment that could easily find a receptive audience among folks who’ve never seen, or even heard of, such golden oldies as “Seven Ways from Sundown” or “Gunfight at Comanche Creek.”
  25. Enigma, an HBO production that premiered at the Sundance Film Festival, derives its strength mostly from Lear’s resolve to always be herself. And with that, the film can inspire courage in its audience, whatever their identity.
  26. While Ride and O’ Shaughnessy never wed. Her candor here marries a spectacular professional saga with the personal love story convincingly.
  27. We go into “F1” excited about being excited, and the film makes good on that. It’s nothing if not an adrenaline high. Yet it’s a high that may leave you feeling a bit empty afterwards.
  28. Elio is right at home in the Pixar catalog, but lacks those undeniable signs of intelligent life (wit, surprise and the capacity to expand the medium) that set the studio’s best work apart.
  29. Once all the toasts are made and the rice is tossed, Bride Hard proves an entertaining marriage of something borrowed (the plot) and something blue (some of the jokes).

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