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
    • 72 Metascore
    • 80 Critic Score
    Brewster McCloud spares practically nothing in contemporary society. Literate original screenplay is a sardonic fairy tale for the times, extremely well cast and directed.
    • 72 Metascore
    • 70 Critic Score
    A pleasant film about an old man who rejuvenates himself on a cross-country trek. Script is a series of good human comedy vignettes, with the large supporting cast of many familiar names in virtual cameo roles.
  1. The movie is witty only on occasion. But it lingers in the mind, thanks largely to its trio of actors -- especially Alex Karpovsky.
  2. The final reel packs a genuine emotional wallop, even as it makes auds laugh with the vicious precision of its dramatic irony.
  3. Slow reveals itself to be quite a tender portrait of love and companionship, of what our bodies yearn and want in others, and how we could do well to upend the stories we tell each other about living and loving another.
  4. Kaufman’s innovations all make Orion and the Dark less predictable, potentially engaging young viewers in the storytelling process. But they also make for a more stressful experience overall, as if Orion wasn’t high-strung enough already.
  5. A lively, bittersweet meditation on an impoverished childhood that is still rich in innocence and imagination, it feels old-fashioned in a way that does not quite gel with its bid for contemporary grit.
    • 72 Metascore
    • 70 Critic Score
    Thesping is on the plus side, particularly Nolte in a role cut to his proportions. Director Roger Spottiswode, after a couple of earlier actioners, has great potential.
  6. Whatever literary talent Leroy was praised for shouldn’t have been so quickly forgotten and dismissed by those who’d once championed it. However, that praise was won under false pretenses — and while you can criticize Leroy fans for claiming to love the writing when they really fell in love with the myth it came packaged in, you can’t blame them for feeling ripped off.
  7. On a technical level, the film is just astonishing, especially as regards the two lead actors’ performances.
  8. Sports a stronger narrative spine than is usual in Vietnamese rural dramas and a less fragile tone in its deployment of landscape and character.
  9. In dangerous and downright cruddy conditions, the personable Palestinians share stories, lodgings and camaraderie with the young Israeli filmmaker, whose handheld camera follows them everywhere.
  10. Artfully observed, it's content to let Linda be the sole, compelling focal point.
  11. A likely cult hit among horror fans and a gleeful affront to more delicate sensibilities, Bellflower takes the young-adult romantic-comedy blueprint and subjects it to a kind of devilish origami, creating a disturbed and disturbing parable about young male fantasies, fears and avoidance of adulthood.
  12. An impressively crafted drama laced with darkly comic humor.
  13. Impressive though the results of the WHO’s campaign to eradicate polio may be, it is Zaidi’s lensing of the streets, waterways and people of Pakistan that lingers in the mind.
  14. Leslee Udwin’s hour-long activist documentary India’s Daughter makes for grim, infuriating and sadly necessary viewing, its despair tinged with the faintest hope that the protestors’ call for gender equality may yet be reignited.
  15. The band still sounds phenomenal onstage, and the concert scenes are expertly shot, with plenty of roaming on-the-ground footage to take in the audience ambiance.
  16. A standard-issue piece of heart-tugging reportage better suited to small screens than art houses.
  17. The story’s supernatural elements enable Miike to take huge liberties with chanbara, the oldest genre in Japanese cinema, and break free from rigid traditions of choreographing swordplay sequences.
    • 72 Metascore
    • 100 Critic Score
    The acting is superb. Cannon proves an expert comedienne. She and Gould practically steal the film, although admittedly they have the best lines. Wood and Culp give equally fine performances....The film is almost flawless, presenting the issues in a pleasing, entertaining and thought-provoking manner.
  18. Wright satisfies in providing a glimpse of an alternative community and lifestyle that appears near-idyllic without being painted in terms that are too sentimental or cute.
  19. It’s one of the most daring films ever made, not so much because of anything it overtly depicts as what this controversial classic reveals about the infinitely complicated psychology of human sexuality.
  20. Many will be left bewildered by the sheer, deranged obsessiveness of Yonfan’s nostalgia head-trip — indeed, there were whistles and walkouts at its first Venice press screening — but accustomed Yon-fans and patient adventurers will fall madly for its madness.
  21. Utilizing news footage, TV programs, crude activist films and the like, Périot (always his own editor) builds his arguments almost invisibly, guiding the viewer while trusting his audience to use their heads. How refreshing to have a director refuse black-and-white conclusions, knowing that formulating questions is the best way to probe the past and its ramifications.
    • 72 Metascore
    • 70 Critic Score
    Technically picture leaves nothing to be desired. Paul Jones, producer, and Hal Walker, who directed, make a fine combination in steering and in the production value provided.
  22. Hoogendijk also has a keen eye for drama, and My Rembrandt is dotted with anecdotes that snowball into lively art-world clashes of ego.
  23. The movie, at its best, holds you in its grip.
    • 72 Metascore
    • 60 Critic Score
    More an absurdist comedy than a horror film, Evil Dead II is a flashy good-natured display of special effects and scare tactics so extreme they can only be taken for laughs.
  24. Will Reiser's semiautobiographical script initially prescribes too artificial a story treatment for its characters but is rescued by a genial, low-key vibe that builds in sensitivity and emotion up through the final reels.

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