Variety's Scores

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For 17,765 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: 9,125 out of 17765
  2. Mixed: 7,004 out of 17765
  3. Negative: 1,636 out of 17765
17765 movie reviews
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  1. Light of My Life
    Scene for scene, Affleck does a decent job of directing — his touch is soft, intimate, humane — but he has saddled himself with a script that isn’t entirely there.
  2. The Kindness of Strangers
    Too much of the kindness in “Strangers” feels sentimentally story-dictated rather than born of profound human observation, leaving you with mild, woolly good feeling but little to contemplate or chew on.
  3. I Was at Home, But
    I Was at Home, But… works as a mood piece in the truest sense of the term: once you stop trying to logically assemble the narrative and submit instead to its clashing, enveloping currents of feeling, they form a persuasive story of their own.
  4. Gully Boy
    A Bollywood movie about a rapper from the slums may sound derivative, but what does that matter when “Gully Boy” revels in high-wattage screen chemistry and an inclusive social message, all served up in a slickly enjoyable production showcasing Ranveer Singh’s many charms?
  5. The Golden Glove
    The Golden Glove may not celebrate its subject, but the intimate examination it offers him is itself a privilege — one for which this ugly, unenquiring film scarcely makes a case.
  6. God Exists, Her Name Is Petrunija
    God Exists, Her Name is Petrunya positions itself as a feminist cry against a patriarchal Macedonia in the grips of bullying machismo and hidebound religion, yet the genial rushed ending undercuts its gender-equality thrust by presenting Petrunya’s emotional savior as a mustachioed guy in uniform.
  7. Ghost Town Anthology
    Mysteries remain mysteries, and the value isn’t in finding answers but in emotionally exploring where the questions take you.
  8. Elisa & Marcela
    A dully made, frequently ridiculous eye-roller shot in standard issue black-and-white that gussies itself up as a brave clarion call for gay rights.
  9. By the Grace of God
    That the film works as stirringly as it does is largely because of that brash, heart-on-sleeve engagement with its characters’ messy, unfinished feelings, not to mention Ozon’s canny knack for playing on French star personae.
  10. TT3D: Closer to the Edge
    Even the most racing-averse auds will have to agree this entertaining whiz around the 2010 Isle of Man TT racing event puts across the thrill of the sport.
  11. The Maestro
    By consigning its most interesting character to a supporting role, this amiable slice of fictionalized history loses a good deal of its heft. Nonetheless, solid direction and a charming Berkeley turn help it stave off insubstantiality.
  12. Patrick
    Though the narrative tends to be a touch too simplistic for most grown-ups, and lacks enough riotous dog action for the little ones, there’s enough bite to make things worthwhile for those who just want to enjoy a sweet, wholesome dog movie.
  13. Berlin, I Love You
    By and large, the film feels aimless and uninspired.
  14. Light From Light
    Neither thriller nor sentimental whimsy, Paul Harrill’s second feature (following 2014’s equally low-key “Something, Anything”) is a quietly matter-of-fact drama that utilizes a “haunting” story hook for non-religious yet affirming ends.
  15. Happy Death Day 2U
    Happy Death Day 2U is more complicated than the first “Happy Death Day,” but in this case more complicated means less fun.
  16. Isn't It Romantic
    While there’s virtually no risk that “Isn’t It Romantic” will make you to love your favorite rom-coms any less, Strauss-Schulson hasn’t figured out how to have his cake and eat it, too — to look down on the very confection he’s so busy peddling.
  17. The Amityville Murders
    The gap between good intentions and effective follow-through is maybe the distinguishing characteristic of this latest “Amityville” movie, which takes itself with admirable seriousness, yet in the end can’t itself be taken very seriously.
  18. Ask Dr. Ruth
    The irony at the core of the Dr. Ruth persona is that the maverick who made the bedroom public is herself incredibly private, and while she encourages women to get intimate with their bodies, she’s not in touch with her own emotions. Still, she is vocal about respecting boundaries, and White acquiesces, trusting that the facts of Westheimer’s life say plenty about her peppy workaholism.
  19. What Men Want
    But the thoughts she overhears don’t, for the most part, have the snap of comic surprise. They just fill in the walking alpha blanks we already know.
  20. The Prodigy
    While it lacks gripping, nail-biting tension, the unnerving horror that underscores the family drama brings it to life.
  21. The Lodge
    There are too many explanations dangled here, to ends somewhat frustratingly contradictory rather than usefully ambiguous.
  22. The Mustang
    It’s a touching and original piece of bare-bones sentimental humanism, and Schoenaerts is terrific in it.
  23. The Gospel of Eureka
    This cheerful small town portrait makes for an idealistic crowd-pleaser (after all, Eureka Springs is the rumored home of healing waters), but this beautiful, and beautifully shot, documentary is a cure for the angry headline blues.
  24. Native Son
    Native Son, after its promising first half, leaves you dispirited, because it’s a movie where hope gets snuffed by a stacked deck.
  25. Blush
    Admirably acted and powered by a loopy internal rhythm, the film nonetheless wears out its welcome long before it’s done inflicting indignities on its heroine, arriving at its main point early and then repeating it again and again.
  26. I Am Mother
    Mostly I Am Mother is exactly what it seems: a good-looking allegory that postures like it’s wrestling with more ideas than it actually is.
  27. The Hole in the Ground
    [Cronin's] trim, jumpy debut feature rewrites no genre rules, but abounds in bristly calling-card atmospherics. ... Only in the film’s muddy-in-all-senses finale — which leaves a few too many dots unjoined, even by forgiving genre standards — does its grip on proceedings slip a notch.
  28. Corporate Animals
    Corporate Animals is a character sketch in search of a plot.
  29. Share
    Share is fragmented and disorienting, though one suspects that confusion is perhaps Bianco’s point.
  30. Little Monsters
    The paradox of "Little Monsters" is that it’s so guileless in its story and execution, it could have been made for kids, except for the disembowelings. Still, Nyong’o not only survives the film with her dignity intact, the audience might exit admiring her more.
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