Variety's Scores

For 17,805 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:
17805 movie reviews
  1. A simple premise can serve as a portal to profound social critique, for those willing to take the plunge.
  2. Beautifully crafted, often sentimental, sometimes humorous.
  3. This aimless, lifeless time-killer about four teenage girls prepping for their rock-band gig in a school talent show proves entirely the wrong choice.
  4. So strong are the perceived parallels between the Peruvian situation described in State of Fear and the sociopolitical dynamics of the current U.S. war on terror that filmmakers have trouble, in post-screening Q&As, returning the discussion to the historical subject at hand.
    • 74 Metascore
    • 70 Critic Score
    Throughout, despite its omniscient, stark melodrama, there has been no sight lost of an element of humor. Barry Fitzgerald, as the film’s focal point, in playing the police lieutenant of the homicide squad, strides through the role with tongue in cheek, with Don Taylor as his young detective aide.
  5. It’s a film less about any frenetic onscreen shenanigans as it is about its own mood board of sartorial and cinematic reference points — Jean Renoir, Billy Wilder, some vintage Chanel — and as such it slips down as fizzily and forgettably as a bottle of off-brand sparkling wine.
  6. Wonderfully engaging look at 1970-71 from a child's p.o.v.
  7. While it’s not saying much, Thor: Ragnarok is easily the best of the three Thor movies — or maybe I just think so because its screenwriters and I finally seem to agree on one thing: The Thor movies are preposterous.
  8. "Going to Mars” responds creatively to the call of its ingenious subject thanks to the directors’ soulful grasp of her work, and Terra Long and Lawrence Jackman’s skillful editing.
  9. Narco Cultura is as overwhelming as it is absorbing.
  10. A doggone hilarious cartoon extravaganza...virtually bursts at the seams with a supersized abundance of witty wordplay, silly songs and inspired sight gags.
  11. The film is Arnold trying to have the integrity of her severity and eat it too. Bird is a feel-bad movie that turns into a feel-good movie. What it never feels like is a totally authentic movie.
  12. Beats proceeds to give a dying scene its euphoric due, in a dazzling digression from stage-based form.
  13. It’s not one of those filmmaking-as-therapy grudge sessions, but a wrenchingly fair-minded look at complicated family dynamics.
  14. The unresolvable tension between logic and feeling animates Eugene Green’s La Sapienza, an exquisite rumination on life, love and art that tickles the heart and mind in equal measure.
    • 74 Metascore
    • 50 Critic Score
    The artful cinematic strokes of director Robert Wise and staff are not quite enough to override the major shortcomings of Nelson Gidding’s screenplay from the Shirley Jackson novel (The Haunting of Hill House).
    • 74 Metascore
    • 50 Critic Score
    Elia Kazan's production of William Inge's original screenplay covers a forbidding chunk of ground with great care, compassion and cinematic flair. Yet there is something awkward about the picture's mechanical rhythm. There are missing links and blind alleys within the story. Too much time is spent focusing on characters of minor significance.
  15. Wild Indian doesn’t quite add up, but it heralds an important new voice — not just because of his Native American heritage (although that plays a central role in this project’s concerns), but even more on account of the complexity he’s willing to acknowledge in his characters.
  16. The rare ability to make intelligent, entertaining cinema from hot-button current issues is beautifully illustrated by Lemon Tree.
  17. When a movie taps a nerve with the public, it doesn’t need to be a masterpiece to become a phenomenon, which might explain why Matsoukas puts greater attention on the look, feel and musical signature of the project than she does the plot, which feels thin and familiar.
    • 74 Metascore
    • 60 Critic Score
    This version of Georges Bizet's frequently reinterpreted "Carmen" is spoken and sung in the click-punctuated African lingo of Xhosa and adapted to fit yarn's shift south, with a semi-cinema verite style cleverly disguising the artifice of the work's legit origins.
  18. Just as somber as "The Good Shepherd," the most recent domestic spy drama, but more tightly focused, Breach absorbingly zeroes in on how the FBI nailed the most damaging turncoat in American history.
  19. Sixty years after World War II, descendants of a prominent Nazi responsible for implementing Hitler's policies in Slovakia reignite debate over their heritage in emotional docu 2 or 3 Things I Know About Him.
  20. The filmmakers quietly expose conflicts and contradictions without the intrusion of voiceover, and with only occasional intertitles furnishing factual information.
  21. Develops into a powerfully emotional experience thanks to a career-best performance by Toni Collette.
    • 73 Metascore
    • 80 Critic Score
    A smart and stylish remake of the 1962 suspenser.
  22. Shows a rather arrogant disdain for its audience in between occasional flashes of flair.
  23. Bigger, Longer & Uncut will make it harder still to dismiss, or kill, this cultural mini-phenom — not least because the feature is a more clever diversion than anyone had any right to expect.
  24. Must-see docu penetrates a Jenin refugee camp to follow several Palestinian children from laughing little kids in a theater group to grim actors on a grislier world stage.
  25. A piercing, immersive, and superbly played convent drama in which the suppression of speech is witnessed at both an individual and institutional level.

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