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. The Command
    Vinterberg’s Kursk occasionally lands an emotive blow but only in its more fictionalized stretches, while it pulls its punches with the thorniest and most provocative elements of the real story, an instinct that unduly submerges much of the real horror and lasting consequence of this tragically, enragingly, heartbreakingly bungled incident.
  2. The Death and Life of John F. Donovan
    What could have been a powerful ode to the impact that movies have in shaping our identities — and by extension, the reason broken people are drawn to the profession, through which they hope to reach others like themselves — becomes an over-the-top celebration of Dolan himself.
  3. Don't Leave Home
    The result is a diverting-to-a-point curio whose nice atmospherics and good performances ultimately don’t add up to quite enough to satisfy the constructs of horror, allegory, satire — or anything else.
  4. Smuggling Hendrix
    [A] delightful, droll, and intelligent comedy, which captures the absurdity and tragedy of a complicated political situation with a consistently light touch.
  5. 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.
  6. The Basement
    There’s a big twist at the end, but like everything else here, it aims for a shock effect that the film is simply too clumsy and psychologically far-fetched to pull off.
  7. Bel Canto
    Between its minimal setup and frantic denouement, the middle stretch of this pleasingly multilingual movie sags shapelessly, as the hostages and even their captors gradually bond across cultural and linguistic barriers, with music — of course — as the language that binds them.
  8. The Land of Steady Habits
    No matter how much you want to like the film, something is missing: a spark, a shimmer, a thrust of discovery.
  9. Shadow
    Every supremely controlled stylistic element of Zhang Yimou’s breathtakingly beautiful Shadow is an echo of another, a motif repeated, a pattern recurring in a fractionally different way each time.
  10. Quincy
    Stretching to more than two hours, Quincy stumbles into some pacing problems as it goes, and considering the sheer number of turns the man’s life took, one wonders if a miniseries might have served him better.
  11. The Quietude
    Boasting a trio of actresses at the top of their game and cinematography that constantly impresses with its confident yet unshowy fluidity, the movie deftly enters into the bosom of a family harboring multiple secrets, encompassing the personal and political.
  12. Our Time
    Die-hard acolytes will argue that the camerawork transcends or even complements the storyline; most everyone else will wonder what happened to an auteur whose work was awaited with such eager anticipation.
  13. The Nightingale
    Kent’s elemental revenge tale attains a near-mythic grandeur over the course of its arduous, ravishing trek. Some stricter editing wouldn’t go amiss, particularly in a needlessly baggy, to-and-fro finale, but it’s a pretty magnificent mass of movie.
  14. The Mountain
    Having dipped a toe into bigger-name casting with his previous feature “Entertainment,” Alverson experiments intriguingly with performance style here, submitting his otherwise rigorously controlled filmmaking to the whims of unpredictably idiosyncratic thesps like Lavant, Goldblum and Udo Kier. It’s a calculated clash that perhaps reflects the film’s own theme of agitated minds at odds with the stoic status quo.
  15. Hotel Mumbai
    Sitting through the harrowing events again nearly a decade later could hardly be described as entertainment, and the film plays to many of the same unseemly impulses that make disaster movies so compelling, exploiting the tragedy of the situation for spectacle’s sake.
  16. Green Book
    Featuring a pair of terrific performances by Viggo Mortensen as a goombah with a heart of gold and Mahershala Ali as multilingual composer-musician Don Shirley, the story may be unique, yet it goes pretty much exactly the way you might expect.
  17. Freaks
    The only problem is that it’s easier to be impressed by the ingenuity of the staging and the architecture of the screenplay than it is to stay invested in the characters.
  18. Donnybrook
    For Sutton — whose previous film, “Dark Night,” inspired by 2012’s Aurora megaplex shooting, made an austere statement about gun violence — Donnybrook marks a major step forward in both ambition and style.
  19. 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.
  20. Ben Is Back
    The entire film is that rarest of gifts for its cast, providing virtually every character with a chance to play not only the present moment, but the complicated history they’ve established with Ben in the past, as well as whatever chance they see in the troubled young man’s future.
  21. Mid90s
    Mid90s, though made by a Hollywood star, isn’t a nostalgic indie “fable” in gritty skate-punk drag. It’s something smaller and purer: a slice of street life made up of skittery moments that achieve a bone-deep reality.
  22. Monrovia, Indiana
    Its methodical gathering of material never quite brings us to a more stirring understanding of the lives under its lens.
  23. Life Itself
    It is sentimental and sprawling, which are not necessarily bad things, but also manipulative and contrived, which very much are.
  24. Where Hands Touch
    Amandla Stenberg carries the magnetism she brought to her breakthrough role in the YA romance “Everything, Everything,” but she’s betrayed by a stilted rendering of a rarely illuminated piece of history.
  25. In Fabric
    There’s no reason a movie about a devil dress should work, and yet Strickland strikes the right tone, inviting laughter by taking it all so seriously.
  26. The Hate U Give
    Without compromising the complexity of the issues raised, or condescending to the youth of its protagonists, The Hate U Give strides with absorbing, intelligent certainty through the desperately dangerous, uneven terrain of racially divided America.
  27. Final Score
    Park your brain cells in the lobby, and this U.K. production about a terrorist attack on a London soccer stadium — with Dave Bautista as Bruce Willis plus 100 or so extra pounds of muscle — is an entertainingly over-the-top ride that doesn’t even try to be “credible.” It’s not quite daft or otherwise distinctive enough to be memorable.
  28. The Great Buster: A Celebration
    Structured as a straightforward life story followed by an extended coda looking in detail at the features Cohen is restoring, The Great Buster can’t hold a candle to the 1987 three-part series “Buster Keaton: A Hard Act to Follow” but will make do as a decent DVD extra.
  29. 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.
  30. Gloria Bell
    Although García and Moore were born in the same year (under the same sign!), Lelio is more mature now than he was when he made the original film, and he brings that experience to the project in small but crucial ways.
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