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. Gwen
    Approach the film with managed genre expectations, however, and there’s much to admire (and duly shiver over) in its formidable, stormcloud-hued atmospherics, low-simmer storytelling and a particularly fine, unaffected breakout performance by teenage actress Eleanor Worthington-Cox in the testing title role.
  2. 15 Minutes of War
    Grivois’ purpose is not to force a conversation about France’s colonial past or a comparison between Africa then and now. As the body count increases in this tense but troublingly context-free drama, he mistakenly believes we’ll gladly put politics aside to revel in the French gift for the kill shot.
  3. Playmobil: The Movie
    An attempt to do for the smiling, claw-handed Playmobil collective what “The Lego Movie” did for the humble plastic brick — but without that blockbuster’s dizzy, self-aware wit and visual invention — Lino DiSalvo’s hyperactive film never transcends its blatant product-flogging purpose.
  4. Brian Banks
    So, where do Shadyac and Atchison expect audiences to direct their frustration at such a miscarriage of justice? Well, that’s what makes “Brian Banks” special: It is not an angry film, but one that preaches forgiveness in the face of such adversity.
  5. The Art of Racing in the Rain
    Granted, there aren’t a lot of surprises in The Art of Racing in the Rain. If anything, knowing — or at least anticipating — how the film’s myriad tragedies will unfold seems to heighten the effect.
  6. Love, Antosha
    A touching and surprising portrait of an actor who had much more going on in his life – from a serious illness to some seriously left-field artistic inclinations – than was mentioned in his obituaries.
  7. Otherhood
    While the filmmakers have crafted compelling characters and conundrums, they unfortunately fail to give them better connective tissue and a satisfying third act.
  8. Coyote Lake
    While the movie doesn’t work, it isn’t idiosyncratic enough even to hold attention as a misfired oddity.
  9. Fast & Furious Presents: Hobbs & Shaw
    You may enter a film like this one believing you had some grasp of how gravity works, or the human threshold for pain, or what constitutes a good movie, but the experience is so exhilaratingly mind-altering, so radically untethered from terra firma, you basically have to readjust your basic understanding of everything you know to be true and just go with the flow.
  10. Jay Myself
    After watching Jay Myself, you yourself may begin to see the world in a whole new way, as if you’d woken up to all the images that might have been invisible before, but only because you passed them by.
  11. Dead Water
    As bad as Dead Water might seem while you’re watching it, it’s even worse when you replay it in your mind after the fact, and pay stricter attention to holes in the plot and gaps in the logic.
  12. Genèse (Genesis)
    Lesage’s filmmaking, with its unhurried editing and eerily echoing music cues, is in expert sympathy with his hovering, out-of-time protagonists.
  13. The Angry Birds Movie 2
    Van Orman, Emmy-nominated creator of the quirky, cult-inspiring kids’ cartoon series “The Marvelous Misadventures of Flapjack,” brings just the right level of dippy zeal to the project, committing to extended, farcical routines that, at their most immaculately choreographed and paced, channel the pure, physical hilarity of vintage Chaplin or Sellers.
  14. The Red Sea Diving Resort
    American audiences typically adore “white savior movies,” but this one pushes the stereotype to such an extreme ... it’s impossible to ignore how badly the film marginalizes the courageous Ethiopian refugees about whom it purports to care so deeply.
  15. Dora and the Lost City of Gold
    The most endearing quality of Nicholas Stoller and Matthew Robinson’s script — not counting the fact they didn’t try to whitewash their Latina heroine — is the way it permits Dora to remain indefatigably upbeat no matter what the situation, whether navigating treacherous Incan temples or facing an auditorium of jeering teenage peers.
  16. See You Soon
    Steamier and sleeker than a Hallmark Channel movie, but with just as many idealized scenarios, it’s “so bad, it’s good” escapism at its finest.
  17. Jirga
    As interesting as all this is, and as challenging and perilous it must have been to capture these images, Jirga’s elliptical approach to plot and selective use of subtitles does the finished product no favors.
  18. For Sama
    Simple in concept and shattering in execution, blending hard-headed reportage with unguarded personal testimony, it’s you-are-there cinema of the most literal order.
  19. Don't Let Go
    With any luck, Relive will get a reboot down the road, in which someone takes better advantage of the basic idea.
  20. Girls with Balls
    Lavant’s performance as a wordless, deranged, bloodthirsty cult leader is the one note of genuine eccentricity and menace in a film that’s mostly devoted to slapstick comedy and decapitation.
  21. Astronaut
    In the end, only a fraction of McLeod’s ambitions sticks a landing. But Astronaut stays afloat with sweetness, thanks to a measured performance from Dreyfuss.
  22. TINY: The Life of Erin Blackwell
    The movie itself isn’t bad, though I wish it were better.
  23. I Do Not Care If We Go Down in History as Barbarians
    Of viciously pointed relevance anywhere populism is on the rise, “Barbarians” is a fiercely intelligent, engaging and challenging wake-up call, a film that leaves you smarter at the end than when you went in, but also sadder and significantly more terrified.
  24. The Great Hack
    Privacy issues aside (and I’m second to none in my concern about them), the movie, in its ham-fisted fashion, is trying to come up with some way to regulate what it despises.
  25. The Outsider
    Trace Adkins looms large in a dark and brooding sagebrush saga with a healthy dose of Spaghetti Western fatalism.
  26. This Changes Everything
    Chances are, if you work in Hollywood, This Changes Everything won’t teach you anything you don’t already know. But that doesn’t mean it’s not helpful to hear it articulately communicated by some of the most respected women in the business.
  27. Angels Are Made of Light
    Angels Are Made of Light serves as a lament for a prosperous past that can’t be reclaimed, a volatile present that affords few prospects for joy or success, and a future that’s terrifyingly uncertain.
  28. A Faithful Man
    If “Two Lovers” was a lively New Wave lark, exploding with color and energy, then A Faithful Man is its sober, cerebral opposite, gray and stylistically restrained, an efficient short story of a film that feels more like an intellectual exercise than an emotional experience.
  29. Luz
    Comparisons do not come easy with Luz, an arresting first feature for German writer-director Tilman Singer that is equal measures demonic-possession thriller, experiment in formalist rigor, and flummoxing narrative puzzle-box.
  30. Rosie
    This small, tough film provides no easy solutions.
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