Variety's Scores

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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:
  1. Positive: 9,148 out of 17805
  2. Mixed: 7,020 out of 17805
  3. Negative: 1,637 out of 17805
17805 movie reviews
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  1. Fair Play
    The key to the film’s potential success isn’t just that it’s made in a commercial genre. It’s that Fair Play, while full of sex, money, corporate backstabbing, and a lot of other things that are fun to watch, really is a good little movie.
  2. Colewell
    The film’s finely crafted serenity is in keeping with its main character’s secluded state of affairs, and mind.
  3. She Will
    As a superbly crafted, thematically rich fable, it administers a potent dose of #MeToo vengeance, all while wearing its nasty sense of humor like a red-lipstick grin applied to a perfectly masklike face.
  4. Queen of Katwe
    The film’s strongest assets are undoubtedly its actors.
  5. Werewolf
    For all her attempts at documentary-style verisimilitude, filmmaker Ashley McKenzie doesn’t really cover much new ground with Werewolf.
  6. Pop Aye
    This bucolic escape from big-city life is anchored by a solid script filled with characters who, despite reaching the end of the road, find ways to make peace with the world.
  7. Time
    Script is sometimes confusingly structured, and in its second half doesn't move as smoothly from scene to scene as in Kim's best pics.
  8. A Field in England
    Clearly, Wheatley is bored with the paint-by-numbers approach of his horror contemporaries, but has swung so far in the opposite direction here, the result feels almost amateurishly avant garde at times, guilty of the sort of indulgences one barely tolerates in student films.
  9. I'm Not There.
    Stylistically audacious in the way it employs six different actors and assorted visual styles to depict various aspects of the troubadour's life and career, the film nevertheless lacks a narrative and a center, much like the "ghost" at its core.
  10. Of Mice and Men
    Well-mounted and very traditional, Of Mice and Men honorably serves John Steinbeck’s classic story of two Depression-era drifters without bringing anything new to it. Fine performances down the line and sensitive handling justify this attempt to introduce a new generation to the small tragedy of George and Lennie, although lack of any edge or fresh motivation to tell the tale will keep enthusiasm, and B.O. results, at a moderate level.
  11. Inside Out 2
    Inside Out 2 is a transporting fable about the desire to fit in, to be validated by the Cool Culture that’s, more and more, our collective seal of approval and success. And while the movie is an enchanting animated ride of the spirit (be prepared for it to help save summer at the box office), it may also be the most poignantly perceptive tale of the conundrums of early adolescence since “Eighth Grade.”
  12. The Proposition
    Hillcoat and Cave have here found their most fertile ground yet for allegory-rich examinations of life and death in remote, pressure-cooker environments.
  13. The Son's Room
    While devotees expecting Moretti's wry worldview may feel shortchanged, others will find this a profoundly moving experience, giving it fuel to cross borders into the arthouse niche.
  14. Derrida
    An affectionate but aptly complex view of one of our epoch's great philosophers.
  15. The Man Who Wasn't There
    The Coen brothers tread into James M. Cain territory with The Man Who Wasn't There, but with less tasty results than either Cain or the Coens themselves at their best.
  16. The Bourne Supremacy
    The action is confusing at first and the hyperventilated editing style at times goes beyond the pale, so pic ultimately emerges as an erratic but not unworthy sequel to its gritty, genre-invigorating predecessor.
  17. You Don't Like the Truth: 4 Days Inside Guantanamo
    Luc Cote and Patricio Henriquez's You Don't Like the Truth demonstrates, through excerpts from an actual videotaped interrogation at Guantanamo, the process by which human will can be systematically broken down to force an admission of guilt, regardless of truth.
    • 73 Metascore
    • 90 Critic Score
    The Unbearable Lightness of Being
    Regarded as essentially unfilmable by many observers, so Philip Kaufman has pulled off a near-miracle in creating this richly satisfying adaptation.
  19. Crystal Swan
    No community is as straightforward as it seems in Zhuk and Landauer’s irony-rich, tone-switching script: What begins as a kookily comic quest is complicated by the emergence of human tragedy, prejudice and sexual threat.
  20. Hill of Freedom
    Hill of Freedom, its noble implications lending outward grandeur to a romantic triangle that reps a cream puff even by Hong’s trifling standards. Cream puffs have their merits, though — principally the aerated, uncomplicated sweetness that characterizes this barely feature-length distraction, the light emotional foibles and regrettably careless cinematic construction of which are of a piece with the helmer’s swiftly produced recent work.
    • 73 Metascore
    • 50 Critic Score
    The King of Comedy
    The King of Comedy is a royal disappointment. To be sure, Robert De Niro turns in another virtuoso performance for Martin Scorsese, just as in their four previous efforts. But once again – and even more so – they come up with a character that it’s hard to spend time with. Even worse, the characters – in fact, all the characters – stand for nothing.
    • 73 Metascore
    • 30 Critic Score
    Robin and Marian
    Robin and Marian is a disappointing and embarrassing film: disappointing, because Sean Connery, Audrey Hepburn, the brilliant Robert Shaw, Richard Harris and a screenplay by James Goldman ought to add up to something even in the face of Richard Lester's flat direction; embarrassing, because the incompatible blend of tongue-in-cheek comedy, adventure and romance gives the Robin Hood-revisited film the grace and energy of a geriatrics' discotheque.
  23. The Fall Guy
    The Fall Guy is funny, it’s sexy, and it features the boy toy version of “Barbie” MVP Ryan Gosling — which is to say, this time around, he embodies the ultimate action figure.
  24. Creed III
    Creed III is a sports drama that feels like a thriller with an urgent conscience.
  25. Wicked
    Instead of feeling bloated, Wicked has found its ideal form, where every frame comes crammed with the kind of detail that could easily have been distracting, had a lesser talent than Cynthia Erivo been asked to carry it.
  26. The Lavender Scare
    Essential and absorbing documentary.
  27. The Biggest Little Farm
    Both deeply personal and remarkably objective, The Biggest Little Farm offers a firsthand account of the ups and downs of married duo John and Molly Chester’s trial-and-error attempt to start a biodiverse agricultural operation on land that had long since been stripped of nutrients.
  28. I Wish You All the Best
    The pleasant, polished drama provides a compassionate take on a high schooler undergoing considerable change, its only debit being the arguably too-neat depiction of that transitional circumstance.
  29. Laurence Anyways
    The clearest achievement of Dolan’s typically self-indulgent eye-popper comes in equating its gender-bending protagonist’s metamorphoses with those in any relationship that lasts for years.
    • 73 Metascore
    • 70 Critic Score
    Pillow Talk
    A sleekly sophisticated production that deals chiefly with s-e-x.
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