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. This grounded, frequently brutal and nearly three-hour film noir registers among the best of the genre, even if — or more aptly, because — what makes the film so great is its willingness to dismantle and interrogate the very concept of superheroes.
  2. A well-observed and deftly performed examination of upper-middle-class emotional deep freeze, The Ice Storm is an intelligent, adult American film.
  3. Penna works in what you might call a gratifyingly prosaic style. He doesn’t wow you (though the film, in its level way, is elegantly shot). But he doesn’t cheat you, either, so you come to trust the gravity of his nuts-and-bolts storytelling.
    • 71 Metascore
    • 70 Critic Score
    48Hrs. is a very efficient action entertainment which serves as a showy motion picture debut for Eddie Murphy.
  4. Morley marries a quasi-Victorian premise with a modernist technique that feels drawn from her film’s own milieu.
    • 71 Metascore
    • 70 Critic Score
    What lifts the production above the run-of-the-mill is swift direction by Martha Coolidge, who has a firm grasp over the manic material.
  5. Mainland helmer Wang Quanan and his regular lead actress, Yu Nan, tread on largely familiar ground in Tuya's Marriage.
  6. Enjoyably upbeat and intelligently inspiring.
  7. Assembled from three years’ worth of visits to one of the world’s most volatile hot zones, the format of Stolen Seas is as every bit as exciting as its content, raising beguiling questions about how the team managed to acquire the footage so stunningly interwoven by editor Garret Price.
  8. Considerably grimmer and grittier than the previous pictures.
  9. A formulaic and functional documentary that nevertheless proves effective at getting the message out about America’s addiction to unhealthy food.
  10. Even when their bananas premise grows a bit stale, the directors prove at least semi-serious about their material’s rawer emotions, thereby making the film an uncanny character study about an alienated anthropomorphic primate who yearns to be himself.
  11. A terrific performance by Mary Elizabeth Winstead as a rock-bottom alcoholic is only one reason to appreciate Smashed, an affecting and immersive addiction drama about the unforeseen pitfalls along the road to recovery.
  12. Handsomely shot in widescreen, mostly on actual West Bank locations, and well-played by the cast, pic lays out the issues in an accessible but rather too over-correct way, seemingly eager to please all parties at the expense of real passion.
  13. Although the film, which is based on real events, often tries to cover too much ground, it continually circles back to the idea that people must see themselves reflected in art, not just out of want, but out of deep desire stemming from need, in order to live with dignity.
  14. A richly realized piece of Masterpiece Literature, director Darrell James Roodt's Cry, the Beloved Country has an admirable high polish. But more effort could have been made to address its underlying message and provide an emotional punch to equal the book's resonance.
  15. Furiously paced -- just shy of the sensory-overload point -- pic duly merits comparison to its spiritual granddaddy "Mean Streets," not in the usual imitative sense but rather in the freshness, character acuity and low-budget high style brought to a different NYC ethnic milieu.
  16. Their interwoven stories, backgrounded by concise narration, well-chosen archival imagery and an evocative score by John Zorn, make for an absorbing and revealing examination of the ties that bind.
  17. Sensitive directorial bow by editor Wiebke von Carolsfeld and solid performances lend conviction if not quite distinction to the drama Marion Bridge.
  18. Like the game, which is popular as kind of a one-off without much replayability, Exit 8 is designed to divert for a short time and does so enjoyably, with Kawamura proving a most judicious assessor of just how little backstory, plot explanation and character development he can get away with and still keep us engaged.
  19. Sharply observed but lacking in the probing psychological insights of Silva’s best movies, Tyrel is a chamber piece whose rhythms feel entirely natural (it’s shot in cast member Arze’s house), but which doesn’t resonate greatly after the fadeout.
  20. Bannen and the gawky Kelly, whose screen chemistry is vital to the film's success, make a delightful pair of stumbling shysters, and Jones' script weaves a sizable tapestry of other characters to flesh out the village.
  21. Jeter's film takes on the quality of a sustained dream, as if the theatrical conceits of Jean Genet were married to a children's story retold via William Faulker's Southern brand of stream of consciousness.
    • 71 Metascore
    • 70 Critic Score
    F/X
    Basic premise here is so strong that it proves well-nigh indestructable, even in the face of numerous implausibilities, some silly dialogue and less-than-great casting in secondary roles.
  22. The problem, then, is that too much of this is dispiriting without also being enlightening — the view Gallardo takes is almost that of a bird’s eye, showing much from an emotional remove but revealing little beyond surface-level horrors and characters so numb to it all that we’re left with little choice but to feel the same way.
  23. George A. Romero shows 'em how it's done in Land of the Dead, resurrecting his legendary franchise with top-flight visuals, terrific genre smarts and tantalizing layers of implication.
  24. Time and again during After Class, Schechter makes pinpoint-accurate choices that are even more impressive when, after it’s done, you replay the movie in your mind, and you realize what an exceptional piece of work it is.
  25. 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.
  26. This is a story with numerous stinging ironies, albeit one told in a refreshingly nuanced, non-hyperbolic fashion that pays off very nicely indeed.
  27. This upscale talkfest, which delights in its witty banter and sly references, could be helmer's most commercial work in quite some time.

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