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. Paradise Hills
    If you’ve ever wanted a mashup of Disney princess movies and “The Stepford Wives” or imagined “The Handmaid’s Tale” as a swoony YA fantasy, Paradise Hills is absolutely the movie for you.
  2. Countdown
    Bombastically dumb new chiller that probably would have been called "Killer App" if that title hadn't already been used several times.
  3. Marona's Fantastic Tale
    Provides pleasures for all ages, but especially for dog lovers.
  4. Terminator: Dark Fate
    "Dark Fate” is a lean, tough, and absorbing sequel that taps back into the enthralling surface of the “Terminator” series’ comic-book kinetics as well as the sinister sweet spot of its grandiose pulp mythology.
  5. Serendipity
    Nourry isn’t the most self-effacing of artists, and Serendipity could stand to reveal more of her artistic process, rather than gazing upon the often formidable finished product. Still, on the occasions it stops self-curating and gives us a glimpse into Nourry’s frightened, still-restless soul, this is a stirring, imposing self-portrait.
  6. Cyrano, My Love
    As fizzy as a freshly poured glass of Perrier-Jouët, though considerably less complex, writer-director Alexis Michalik’s Cyrano, My Love attempts to give the “Shakespeare in Love” treatment to the timeless French play “Cyrano de Bergerac,” with shamelessly derivative yet undeniably entertaining results.
  7. Tell Me Who I Am
    In the documentary, the director appears to be interviewing the twins separately, but he’s really just filming them as they recite their own story. They’ve chosen their words carefully; they cry on cue; and they share just enough, while holding back an enormous amount of information.
  8. Kinetta
    Lanthimos’ point seems to be that everyone has their own private weaknesses, but after a Lynchian first act in this strange world, he avoids any mainstream dramatic or satiric elements.
  9. On the President's Orders
    Populist politics can turn all too easily to popcorn ones; On the President’s Orders vividly captures the tipping point.
  10. The Jesus Rolls
    In the end, the project doesn’t really work. The Coen brothers have a touch for the absurd, and a gift for dialogue, that’s lacking here, and without those two qualities, Jesus wears out his welcome relatively early in the journey.
  11. Jay and Silent Bob Reboot
    Smith has every right to be older and wiser here, and Jay and Silent Bob Reboot, with its gentle anarchy and not-quite-mock nostalgia, is a time-machine sequel that passes the time amiably enough. But if Jay and Silent Bob get any older or wiser than this, they’re going to stop being who they are.
  12. Zombieland: Double Tap
    Humor turns every kill into a sick punchline, and while the writers do a fine job of making them funny, like macabre cartoons in which Wile E. Coyote can rebound from unthinkable injuries, the movie’s tone negates a fundamental respect for human life.
  13. Maleficent: Mistress of Evil
    If America goes to war sometime in the next year, pundits will have a field day with this movie. But barring that, it’s just another ugly, unpleasant slog through a disposable fantasy universe. The true Disney villains in this case are off screen, sabotaging the studio’s canon from within.
  14. Lucky Day
    The trouble is, apart from Glover’s unforgettably weird contribution, Lucky Day isn’t a particularly memorable offering. It’s enough to get Avary back in the game, one hopes, but considering his talent, this is hardly the film his fans have been waiting for.
  15. Jexi
    Lucas and Moore write some whiplash funny lines, and since the film is just a throwaway, you can enjoy it on a trivial synthetic revenge-of-the-nerd level.
  16. The Dead Center
    There’s a lot of excellent atmospherics here that are more unsettling than the actual violence, which in turn is all the more effective for largely being kept just off-screen.
  17. A German Youth
    Utilizing news footage, TV programs, crude activist films and the like, Périot (always his own editor) builds his arguments almost invisibly, guiding the viewer while trusting his audience to use their heads. How refreshing to have a director refuse black-and-white conclusions, knowing that formulating questions is the best way to probe the past and its ramifications.
  18. El Camino: A Breaking Bad Movie
    There’s a momentum to his story — it has a heist-movie-style checklist, carried out by a team composed of only one — that has its own satisfactions, and set-pieces with real tension, even if they lead to a less-than-novel place.
  19. The Addams Family
    The Addams Family has an overly processed outré harmlessness. It’s so busy treating its famous domesticated ghouls as icons that it forgets to rediscover what’s memorable about them.
  20. Sink or Swim
    The reliably charismatic work of its players, notably ringleader Mathieu Amalric, keeps this somewhat soggy macaron diverting.
  21. The Sky Is Pink
    The emotions we witness and feel should have more force given the obviously stressful circumstances depicted. But they feel like all the edges have been sawed off to flatter both the subjects and principal actors.
  22. Mary
    Beyond de rigueur jump scares, Mary has little real atmosphere or suspense, and that is at least partly due to the fact that its supernatural force is so generically ill-defined.
  23. Roger Waters: Us + Them
    A sonically superior if sometimes draggy affair that earns its stripes by affirming the timelessness of Waters’ thematic concerns and proving that fresh material doesn’t have to be the medicine we’re forced to swallow to hear the classics.
  24. Consequences
    Ultimately, Stante’s raw energy and sure hand with actors are more encouraging than the screenplay’s lack of depth is bothersome.
  25. Bully. Coward. Victim. The Story of Roy Cohn
    Bully. Coward. Victim. isn’t as authoritative a chronicle as “Where’s My Roy Cohn?,” but in its loosely anecdotal way it may bring us a notch or two closer to who Roy Cohn was.
  26. Celebration
    Celebration doesn’t feel entirely fair, but it’s a priceless addition to our understanding of how Yves Saint Laurent — the man, the myth, la marque — operated: a flawed film whose mere existence makes it essential viewing.
  27. Jallikattu
    A fever-pitch, adrenaline-soaked vortex of social issues drama, deconstruction of the male id, and hokey, hubristic descent into hell, this crazed howl of human brutality morphing inexorably into bestial savagery deserves, and feels destined to find, a willingly cultish following on the festival circuit.
  28. Mister America
    The movie amounts to a few weak gags stretched out to feature length.
  29. Low Tide
    In addition to establishing a tangible sense of place, McMullin impresses by putting together such a strong ensemble and eliciting from them the performances he does. He’s a very visual director, jump-starting scenes with an unexpected extreme-closeup of some kind before allowing audiences to get their bearings — a strategy that subconsciously reinforces the notion that we can never get too comfortable in this otherwise familiar genre.
  30. Semper Fi
    Though professionally smooth in execution, Semper Fi has the frustrating sum impact of a movie at fundamental conflict with itself.
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