Variety's Scores

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For 17,831 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: 9,163 out of 17831
  2. Mixed: 7,031 out of 17831
  3. Negative: 1,637 out of 17831
17831 movie reviews
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    • 43 Metascore
    • 80 Critic Score
    Skin Deep
    Revenge is sweet and Ritter gets his due in any number of silly and embarrassing situations which he handles with nearly perfect comic timing.
  2. Bellingcat: Truth in a Post-Truth World
    It’s exciting, cloak-and-dagger stuff, no less exciting (or valid) for having been done from someone’s armchair at home. Pool pulls some cheap shots by cutting to Putin, Trump, and Kim Jong-un whenever he needs to personify who they’re up against. But in a world where those three are leading the charge to break the news, Bellingcat are doing their best to put it together again.
  3. All My Life
    The warmth and touching tenderness of All My Life melts even the coldest of hearts in its quest to deliver happy and sad tears.
    • 94 Metascore
    • 80 Critic Score
    Chimes at Midnight
    A personal viewpoint, it mixes the grotesque, bawdy, comic and heroic, and does have a melancholy under its carousing and battles.
  5. Crazy, Not Insane
    You may not agree with everything Dorothy Lewis says in “Crazy, Not Insane,” but you come out of the movie alive to the place where evil and insanity meet and then fall back apart.
  6. On-Gaku: Our Sound
    True to Ohashi original manga, Iwaisawa’s illustrations are geometric, employing abstract backgrounds and bright, dominant colors. Faces, reduced to a few stark, scrawly lines, heighten the comical effect of the characters’ poker-faced dialogue, without compromising the richness of their expressions.
    • 83 Metascore
    • 80 Critic Score
    Baby Doll
    Except for moments of humor that are strictly inherent in the character of the principals, Baby Doll plays off against a sleazy, dirty, depressing Southern background. Over it hangs a feeling of decay, expertly nurtured by director Elia Kazan.
    • 60 Metascore
    • 80 Critic Score
    Anchors Aweigh
    Anchors Aweigh is solid musical fare. The production numbers are zingy; the songs are extremely listenable; the color treatment outstanding.
  9. Zappa
    It’s a multimedia immersion, filled with rare footage of Zappa from his teenage years on and assembled with the loving dexterity we’ve come to expect from Alex Winter as a filmmaker.
    • 72 Metascore
    • 80 Critic Score
    America America
    Elia Kazan gives a penetrating, thorough and profoundly affecting account of the hardships endured and surmounted at the turn of the century by a young Greek lad in attempting to fulfill his cherished dream - getting to America from the old country.
  11. The Night
    Featuring excellent performances by Shahab Hosseini (“A Separation,” “The Salesman”) and Niousha Jafarian (“Here and Now”) as a married couple with a baby daughter and a frayed relationship, this predominantly Farsi-language production sneaks up on viewers and delivers a knockout final act.
    • 77 Metascore
    • 80 Critic Score
    Guys and Dolls
    A bangup filmusical in the topdrawer Goldwyn manner.
  13. Farewell Amor
    The simple humanism here makes the case for nurturing and celebrating America’s immigrant population in a more eloquent and persuasive way than a more polemical film ever could.
    • 61 Metascore
    • 80 Critic Score
    The Day of the Locust
    Magnificent production, combined with excellent casting and direction, make The Day of the Locust as fine a film (in a professional sense) as the basic material lets it be. Nathanael West's novel about losers on the Hollywood fringe has lost little of its verisimilitude in adaptation.
  15. The Killing of Two Lovers
    Crawford’s dominating performance makes David no hick but a sensitive and accommodating man a bit intimidated by his admittedly “much smarter” wife, flailing in his efforts to hold together a family unit he can’t go on without.
    • 80 Metascore
    • 80 Critic Score
    Darby O'Gill and the Little People
    People of all sizes will get a bang out of Darby O'Gill And The Little People. [29 Apr 1959, p.6]
    • Variety
  17. Transhood
    While wholly sympathetic to the cause, Transhood isn’t just a work of blandly cheery activism: Liese frankly observes the practical obstacles and psychological swings endured by its four young subjects and their families, sometimes to upsetting effect.
  18. Hearts and Bones
    The intuitive selection of the four leads, and their complex, perceptive playing of the material, is a credit to Lawrence’s deft direction of both veteran and non-professional talent.
  19. The Twentieth Century
    The more familiar one is with Canadian history, the funnier it is. But even without prior knowledge of our neighbor to the north, it can be enjoyed for its combination of supreme creativity, jaw-dropping audacity and amusing tongue-in-cheek dialogue.
    • 54 Metascore
    • 80 Critic Score
    Family Business
    Director Sidney Lumet has crafted a film with real pathos while writer Vincent Patrick (adapting his own novel) injects enough bawdy humor to create a delightful mixed bag spiced with almost a European sensibility.
  21. The Bee Gees: How Can You Mend a Broken Heart
    In its middlebrow celebratory way, How Can You Mend a Broken Heart reveals the Bee Gees’ saga to be one of the most fascinating and, at times, awe-inspiring in the history of pop.
    • 73 Metascore
    • 80 Critic Score
    Room for One More
    A happy combination of good humor and warm drama has been put together with neat results in Room for One More.
    • 69 Metascore
    • 80 Critic Score
    Young Man with a Horn
    For the jazz devotee this is nearly two hours of top trumpet notes. For the regular filmgoer, it is good drama.
    • 71 Metascore
    • 80 Critic Score
    Period of Adjustment
    Period of Adjustment is lower case Tennessee Williams, but it also illustrates that lower case Williams is superior to the upper case of most modern playwrights.
    • 94 Metascore
    • 80 Critic Score
    Meet Me in St. Louis
    Meet Me in St. Louis is wholesome in story [from the book by Sally Benson], colorful both in background and its literal Technicolor, and as American as the World's Series.
    • 89 Metascore
    • 80 Critic Score
    Fat City
    Huston catches the feel of the community with a lean, no-nonsense economy, a hard-boiled but humanly alert feeling which raises the tale from a purely naturalistic lowlife depiction of the characters to make a statement on the life style of the drifters and those who accept a moderate place in the smalltown hierarchy.
    • 65 Metascore
    • 80 Critic Score
    The Other
    An outstanding example of topflight writing structure and dialog, enhanced to full fruition by a knowing director.
  28. Billie Eilish: The World's a Little Blurry
    I’d call it a deftly sincere and canny portrait, one that works precisely because it takes the time to sweat the small stuff.
    • 64 Metascore
    • 80 Critic Score
    The Train Robbers
    The Train Robbers is an above-average John Wayne actioner, written and directed by Burt Kennedy with suspense, comedy and humanism not usually found in the formula.
  30. Tove
    Marking her fifth feature, Bergroth flexes her considerable cinematic powers, conjuring vibrantly expressive visuals and confident performances from her talented cast, especially the petite theater thesp Pöysti, who excels in her first leading film role and strongly resembles the real Tove.
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