Variety's Scores

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For 17,807 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: 9,148 out of 17807
  2. Mixed: 7,022 out of 17807
  3. Negative: 1,637 out of 17807
17807 movie reviews
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  1. 1987: When the Day Comes
    Directed by Jang Joon-hwan with a combination of humanistic ardor and intelligent insight comparable to the measured procedural mode of “Spotlight,” this is a compelling depiction of how brave individuals from all walks of life mobilized a whole nation to bring a recalcitrant dictator and his henchmen to their knees.
  2. Creed II
    Creed II has been made with heart and skill, and Jordan invests each moment with such fierce conviction that he makes it all seem like it matters.
    • 55 Metascore
    • 80 Critic Score
    The Pink Panther
    Quite apart from the general air of bubbling elegance, the pic is intensely funny. The yocks are almost entirely the responsibility of Peter Sellers, who is perfectly suited as a clumsy cop who can hardly move a foot without smashing a vase or open a door without hitting himself on the head.
    • 89 Metascore
    • 80 Critic Score
    Rebel Without a Cause
    Here is a fairly exciting, suspenseful and provocative, if also occasionally far-fetched, melodrama of unhappy youth on another delinquency kick.
    • 61 Metascore
    • 80 Critic Score
    The Return of the Pink Panther
    All hands seem to be having a ball, especially Schell, whose unabashed amusement at Clouseau’s seduction attempts often matches an audience’s hilarity.
    • 60 Metascore
    • 80 Critic Score
    The Pink Panther Strikes Again
    The Pink Panther Strikes Again is a hilarious film about the further misadventures of Peter Sellers as Inspector Clouseau. Action proceeds smartly through plot-advancing action scenes, interleaved with excellent non-dialog sequences featuring Sellers and underscored superbly by Henry Mancini.
  7. What Lies Upstream
    What Lies Upstream is a quietly devastating documentary that’s all the more attention-grabbing for being such a scrupulously restrained and slickly polished piece of work.
  8. Don't Worry, He Won't Get Far on Foot
    Some will find it entirely too sentimental, others a tad repetitive (Callahan tends to repeat the same stories), but it’s hard to argue with a movie that celebrates the kind of recovery he went through.
  9. BlacKkKlansman
    Lee’s latest is as much a compelling black empowerment story as it is an electrifying commentary on the problems of African-American representation across more than a century of cinema.
  10. High Life
    This kinky, often grotesque melding of genre science-fiction with all-out body horror is an audacious project, but the scope of its ambition is cleverly reined in by the low-key presentation, its more salacious potential muted down to an insistent threatening hum, like the background radiation of Stuart Staples’ score.
  11. Hold the Dark
    Boasting the sort of shocking brutality and unnerving menace that has become Saulnier’s signature, Hold the Dark is also a strangely seductive film, and one that understands the difference between simple plot resolution and catharsis, leading us on a journey into Alaska’s frigid heart of darkness that poses more questions than it answers.
    • 89 Metascore
    • 80 Critic Score
    The Madness of King George
    The effective strategy of Bennett, who adapted his 1991 play for the screen, is to demythologize the members of the royal family without trivializing their lives. Hawthorne brings to his complex part a strong screen presence, light self-mockery and pathos that set divergent moods throughout the film.
  13. Skate Kitchen
    Skate Kitchen has plenty to say about the lengths to which young women must go to clear out a little breathing room in testosterone-heavy spaces, but it is first and foremost an irresistible hangout movie.
    • 74 Metascore
    • 80 Critic Score
    Intermezzo: A Love Story
    Bergman is beautiful, talented and convincing, providing an arresting performance and a warm personality that introduces a new stellar asset to Hollywood. She has charm, sincerity and an infectious vivaciousness. Picture unwinds at a leisurely pace, without theatrics of too great intensity in the romantic passages.
    • 86 Metascore
    • 80 Critic Score
    Persona
    Bergman has come up with probably one of his most masterful films technically and in conception, but also one of his most difficult ones.
    • 56 Metascore
    • 80 Critic Score
    West of the Jordan River
    The 66-year-old helmer delivers not only a thought-provoking, moving and surprisingly optimistic documentary, but an intimate, handmade artifact.
  17. Colette
    Less stuffy literary biopic than ever-relevant female-empowerment saga, Colette ranks as one of the great roles for which Keira Knightley will be remembered.
  18. Our New President
    The relentless flow of manufactured scandal and over-the-top lies in Our New President, all packaged with “authentic” video footage and flash-cut techniques, is sometimes funny, and sometimes depressing.... But mostly it’s scary.
  19. Robin Williams: Come Inside My Mind
    Zenovich, the director of “Roman Polanski: Wanted and Desired,” offers just what you want from a documentary like this one: She brings us closer to events that have been covered many times, deepening — or overturning — what we think we know about them.
  20. Three Identical Strangers
    A gripping, stranger-than-fiction account of a real-world medical conspiracy, the film begins as a human-interest story and builds to an impressive work of investigative journalism into how and why they were placed with the families who raised them.
  21. Wildlife
    Dano, it’s immediately clear, is a natural-born filmmaker, with an eye for elegant spare compositions that refrain from being too showy; they rarely get in the way of the story he’s telling. The tale itself is resonant and absorbing, though in a highly deliberate way.
    • 65 Metascore
    • 80 Critic Score
    The Paper Chase
    The Paper Chase has some great performances, literate screenwriting, sensitive direction and handsome production. Timothy Bottoms is excellent as the puzzled law student, Lindsay Wagner is very good as his girl, and John Houseman, the veteran legit and film producer-director-writer, is outstanding as a hard-nosed but urbane law professor.
  23. The Last Family
    The film is a remarkable, frequently unsettling exercise in staged voyeurism, recreating the interdependent lives of the three members of the troubled Beksiński family.
  24. RBG
    This spry celebration reveals that the real Ginsburg is neither beast nor badass, but an even-tempered, soft-spoken mediator—not typically the traits that inspire rousing high-fives, but qualities that honor the slow, uphill slog of positive change.
  25. Maktub
    Beyond their obvious talent as a writing team, Amir and Savyon have terrific chemistry — particularly with each other but also with their love interests here.
  26. Itzhak
    Good music and good company make “Itzhak” a pleasure, though those seeking a methodical career overview should look elsewhere than this genial personality sketch of the world-famous violinist.
  27. The Marriage
    It is a relevant, relatable and rewarding snapshot of how a society grows crookedly around its unresolved secrets, in the same way that a marriage can.
  28. Hunting Season
    If there’s a slightly pat arc to the tetchy father-son bond driving the narrative that smacks of indie script workshopping, Garagiola’s direction is more impressively watchful and flinty, drawing keen, complex performances from her two well-matched leads.
  29. A Woman Captured
    Though Tuza-Ritter somewhat overeggs the urgent genre stylings: The human story she unfolds is nerve-rattling enough before it’s cranked up to quite this extent.
  30. Journey's End
    Journey’s End never feels over-talkative, dull or even particularly claustrophobic. Much of the credit goes to the astute writing and punchy yet understated staging. But primarily, the film keeps audiences engrossed in the personalities involved, their fatigue, disillusionment and residual humanity, as well as the tenderness they extend towards one another where needed.
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