Variety's Scores

For 17,825 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:
17825 movie reviews
  1. Agnostically observant in its approach to spiritual matters, but more devout in its quiet celebration of human compassion, this film’s most complicated lines of inquiry largely play out on the young, unformed face of its protagonist Thomas — impressively played by breakthrough star Anthony Bajon.
    • 72 Metascore
    • 50 Critic Score
    The heavily sprayed-on sociological angle is that hospitals today treat patients like baggage.
  2. The cinematic catharsis the Barrs and company have carefully crafted stands as a fully realized portrait of grief that’s universal in its texture. By focusing on living with the specter of grief and the discovery of its blessings, the filmmakers highlight the human struggle, breaking through to the gutting truth of the matter.
  3. Caring more about what its characters represent — and its empathetic representation of them — than about crafting a fully formed drama concerning flesh-and-blood people, Cone’s film has little more than its heart in the right place.
  4. Big Fish & Begonia commands awe on the strength of its imagery alone...while weaving an epic tale that’s uniquely informed by local myths and motifs. If only it made the slightest bit of sense.
  5. Bone Tomahawk may seem over-indulgent at 132 minutes, yet it’s the wayward digressions of Zahler’s script — navigated with palpable enjoyment by an expert, Kurt Russell-led ensemble — that are most treasurable in a film that commits wholeheartedly to its own curiosity value.
  6. What we’re dealing with here is a fairly conventional political thriller — think “House of Cards,” minus the sleek David Fincher aesthetic or much in the way of suspense — set in a world no one has dared to explore on screen before now.
  7. It’s a cutting, audacious, and at times astonishing movie.
  8. Running a short 84 minutes, Risk offers considerable insights into Assange, but seems to omit as much as it reveals.
  9. In Reuveny’s subtle hands, any uplift to emerge from this extraordinary tale is earned, not gratuitously extracted.
  10. Rest assured that there’s a wacky enjoyment to be had even when things don’t make sense.
  11. It’s probably best to think of this as either an experiment or an exercise, Soderbergh’s way of challenging himself yet again. What results may not be literature exactly, but it broadens other creators’ of idea of what the medium can do.
  12. The director’s double vision establishes a level of equality on film that in some ways defies the disparity in power between the two opposing forces.
  13. Piscatella and editor Matthew Sultan have shaped the kind of exciting you-are-there narrative that captures the feeling of underdog “naive” idealism transforming into a game-changing popular movement.
  14. Invisible Beauty will likely make you hungry for Hardison’s book. But in a twist, one might wonder, can it be as good as the movie?
    • 72 Metascore
    • 70 Critic Score
    Strong point of the feature is that it’s played for both horror and laughs.
  15. Widow of Silence is a classic example of festival filler, the sort of issue-driven art-house film that masks a plodding obviousness of intent beneath a thick varnish of righteousness and attractive visuals.
  16. Some of these vignettes are more arresting than others; all are pleasurable in the patchwork impression they form of a lively and eccentric way of life. Anthropological excavation isn’t the objective here; Dweck and Kershaw are more than happy to buy into the community’s self-mythologizing, to absorb the hand-me-down stories and macho iconography that keep the romance of the gaucho alive.
  17. In the future, audiences may tire of movies about COVID-19. For the moment, however, 7 Days arrives as a funny, modest charmer.
  18. We might have hoped for a more sparky encounter, but Meeting Gorbachev, though consistently engaging, is less a fireworks display than a fireside chat, and so feels curiously like an opportunity missed.
  19. Nine Days is that rare work of art that invites you to re-consider your entire worldview.
  20. With acute sensitivity, Brit writer-helmer Joanna Hogg’s third feature, Exhibition, explores the difficulty of telling inside from outside, intimacy from estrangement, and revelation from concealment.
  21. He left behind enough tape from both ends of the microphone that Belkin is able to create his entire documentary with old footage, juiced by retro imagery of broadcast air waves and vintage dials and knobs.
  22. Grandly conceived and sensitively drawn.
  23. Shinkai hasn’t gone far enough into fantasy to excuse the enormous holes in his script, though he does a nice job of distracting us with detail.
  24. A witty and sometimes surreal sci-fi comedy, Men in Black is a wild knuckleball of a movie that keeps dancing in and out of the strike zone.
  25. The Canadian helmer has created the cinematic equivalent of an M.C. Escher drawing, which bends and breaks and folds back on itself in impossible ways. Brain-shattering as it all is, we can hardly tear our eyes away.
  26. The deceptively complex picture gradually grows sharp edges and snowballs into a compelling study in culture clash, with spectacular scenery to boot.
  27. A raucous and rigorous inquiry into the subject of African-American hair -- the stigmas, the secrets, the shocking price of maintenance -- that gets at universal but rarely discussed truths about black femininity.
  28. Pi
    The film's imaginative, diverse images create a mind's-eye urban claustrophobia; such intensity may exhaust over 85 minutes' course, but it's never less than impressive.

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