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. Inventing Tomorrow
    Inventing Tomorrow won’t win points for originality, but this snapshot of adolescent ingenuity and innovation, premiering at the Sundance Film Festival, nonetheless proves equally entertaining and inspiring.
  2. Destination Wedding
    Destination Wedding barely holds together as a coherent film. It’s too callous for coos, too chipper to examine the dark corners of the soul. Yet it works as a valentine to old-fashioned star power — two modern legends, older if no wiser, daring the audience to somehow love them for all their faults, and on that level, somehow succeeding.
  3. The Laws of Thermodynamics
    The final result is a curiosity, sure, but a cute, quick-witted one, with much (maybe too much) on its mind.
  4. The Favourite
    It’s a perfectly cut diamond of a movie — a finely executed, coldly entertaining entry in the genre of savage misanthropic baroque costume drama.
  5. Kin
    The results are, in artistic terms, a modest success. In commercial terms, it’s a dicier prospect — viewers expecting the kind of bigger-budget spectacle that typically ensues when a screen teenager stumbles into sci-fi situations may be befuddled by what’s primarily a medium-scaled road trip drama with thriller elements … and a very special ray gun.
  6. Roma
    Roma is no mere movie — it’s a vision, a memory play that unfolds with a gritty and virtuosic time-machine austerity. It’s a Proustian reverie, dreamed and designed down to the last street corner and scuffed piece of furniture. Yet I actually think it’s far from a masterpiece, because as a viewing experience it has a slightly hermetic coffee-table-book purity. Every moment comes at you in the same methodically objective and caressing Zen way.
  7. The Man from Mo'Wax
    Weaving together a dizzying array of archival material and previously unseen personal home movies, director Matthew Jones never quite cracks the man behind the music, but he nonetheless offers an appropriately hyperactive snapshot of a colorful era.
  8. The Little Stranger
    Wilson’s extraordinary performance rules the film, weaving a lifetime of accumulating disappointment into a single arched eyebrow.
  9. MATANGI/MAYA/M.I.A.
    It’s a film as compellingly all over the shop as its subject, even if it doesn’t quite have her beat on stylistic verve and risk.
  10. First Man
    After seeing First Man, it’s doubtful you’ll think about space flight, or Armstrong’s historic walk, in quite the same way. You’ll know more deeply how it happened, what it meant and what it was, and why its mystery — more than ever — still lingers.
  11. Bisbee '17
    It’s an investigation into memory, intolerance, corporate-labor conflicts and race relations that’s as audacious as it is timely — and further confirms that director Robert Greene is one of America’s finest new voices in nonfiction.
  12. I Am Not a Witch
    Singular as that story might be, what makes I Am Not a Witch unique, however, is Nyoni’s abundant, maybe even overabundant directorial confidence. It’s rare and exhilarating that a new filmmaker arrives on the scene so sure of herself and so willing to take bold, counter-intuitive chances.
  13. The Elephant and the Butterfly
    The Elephant and the Butterfly is a movie too cool-headed and present tense for backstory.
  14. Four Hands
    While the supernaturally-tinged plot may be outlandish, the commitment and confidence of the actors, and of Kienle in delivering what could be shallow twists with a surprising amount of emotional effect and psychological insight, give the film its melancholic, meditative texture.
  15. Active Measures
    While it’s not as if the film comes up with some smoking gun that Robert Mueller hasn’t yet, it fills in the Trump-Russia connection in a dogged, rigorously reported, eyebrow-raising way.
  16. Blue Iguana
    Blue Iguana strains to be antic in every joint, from gimmicky editorial and camera choices to a soundtrack cluttered with early ’80s New Wave tracks by the B-52’s, Violent Femmes, Only Ones — great stuff, but they can’t get a party started that’s already flatlined.
  17. Jane Fonda in Five Acts
    Lively, confessional, and entertaining.
  18. Makala
    French helmer-lenser Emmanuel Gras’ camera embraces the subject’s every move with such rapt intimacy and cinematic poetry it’s easy to forget this is not a fictional drama.
  19. Arizona
    As a debut film, Arizona shows that Watson could become a director with interesting ideas, but this housing crisis horror comedy is definitely just a rental.
  20. The Happytime Murders
    It should come as no surprise that “Happytime” comes up farcically short as a metaphor for racism. But its most fatal miscalculation is the decision to frontload so many of its crassest setpieces into the first 15 or 20 minutes, depriving the rest of the film of the shock value that is its entire raison d’etre.
  21. Operation Finale
    The last thing you want a movie like this one to feel like is a slick Hollywood suspense drama with famous historical names plugged in. Operation Finale doesn’t feel like that, yet taken on its own here’s how it really happened terms, the movie is at once plausible and sketchy, intriguing and not fully satisfying.
  22. Minding the Gap
    It exists because it’s the movie Liu was born to make, the one he had to get off his chest before he could move on in his filmmaking career.
  23. The Bookshop
    This is a frustratingly patchy adaptation, in which some of Fitzgerald’s shrewdest observations on the savage politics and politesse of supposedly tranquil English village life get a little bit lost in the Europudding. A fine, sensitive leading turn from Emily Mortimer helps shore up these quiet, lightly dust-covered proceedings, but can’t quite put The Bookshop in the black.
  24. Billionaire Boys Club
    There are no billionaires here, just a lot of testosterone where the movie’s brains ought to be.
  25. The Motive
    Whatever attracted Cuenca (“Cannibal”) to this material is seldom evident in his handling of it. Yet the material itself still lends the film its genuine if all-too-modest pleasures.
  26. We the Animals
    As if by magic, Zagar has managed to foster a sense of familiarity among the boys that sells the illusion that they’re related, further reinforced by the editors’ trick of including moments of spontaneous, unscripted tomfoolery between the young actors.
  27. Madeline's Madeline
    Madeline’s Madeline mistakes intimacy for honesty, and it mis-assumes that audiences care nearly as much about the creative process as actors and directors do.
  28. Mile 22
    Berg, when he wants to be, is a surgical craftsman of chaos. Yet Mile 22 has little weight or resonance.
  29. Songwriter
    Murray Cummings’ film is a cautiously peppy, unrevealing affair, showing little of the trial and tension that goes into artistic creation — just the finger-snapping moments when it all comes together.
  30. The Ranger
    Diehard gorehounds may be disappointed by its relatively infrequent reliance on graphic and grisly mayhem (relative to this particular subgenre’s standards, that is), but Wexler’s discretion in this area turns out to be one of her film’s few distinguishing characteristics.
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