Variety's Scores

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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:
  1. Positive: 9,159 out of 17825
  2. Mixed: 7,029 out of 17825
  3. Negative: 1,637 out of 17825
17825 movie reviews
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  1. Shoshana
    In addition to sterling work by the three young principals, Ian Hart gives a standout performance as the British High Commissioner’s ubiquitous righthand man, offering a supercilious, world-weary gravitas that seemingly epitomizes the official British attitude to the Mandate.
  2. My Love Affair with Marriage
    With My Love Affair with Marriage, animator Signe Baumane creates another dense personal narrative that expresses complicated concepts and ideas in images.
  3. Another Body
    A groundbreaking, creepy, fascinating, and important documentary.
  4. Daddio
    Every aspect of Daddio is designed to spark conversation. But it’s sweeter and more satisfying than you might expect, especially as Hall pays off ideas introduced early in her script.
  5. American Symphony
    For this warm and lovely film’s most natural audience, which will most likely be families struggling with illness, the documentary’s final inconclusiveness may feel like a feature, not a flaw: Music is forever, and so is chemo, in some cases. Holding those elements in balance is one way to create a symphony.
  6. Inshallah a Boy
    Inshallah a Boy moves like a sleek thriller, but is full of the unsolved mysteries and dangling question marks of real life.
  7. Dancing in the Dust
    Dispensing with heavyhanded symbolism, Farhadi tells the tale engrossingly and with a lot of physicality through the two main actors.
  8. The Successor
    Taken literally, The Successor is a chilling thing to watch. Step back and imagine what it’s saying on a metaphorical level, and it’s clear that writer-director Xavier Legrand has crafted one of the most damning depictions of patriarchal power imaginable.
  9. A Silence
    The film’s first half-hour keeps our emotional investment at bay as we work out the precise geometry of the characters and their unhappy histories. But there is a gasping power to its staggered reveals, and a searching sadness to the emerging family portrait that outweighs the film’s shock factor.
    • 70 Metascore
    • 80 Critic Score
    Holiday Inn
    Loaded with a wealth of songs, it's meaty, not too kaleidoscopic and yet closely knit for a compact 100 minutes of tiptop filmusical entertainment. The idea is a natural, and Irving Berlin has fashioned some peach songs to fit the highlight holidays.
  11. We Grown Now
    Even in its quietest moments, “We Grown Now” feels alive through the kids’ joint triumphant spirit and Baig’s discernible love and care for them.
    • 86 Metascore
    • 80 Critic Score
    Renaissance: A Film by Beyoncé
    It’s satisfying without being indulgent, but most of all, it’s a monument to Beyoncé’s status as one of pop’s most enduring figures, and everything it takes to get there.
    • 84 Metascore
    • 80 Critic Score
    The Letter
    Never has [the W. Somerset Maugham play] been done with greater production values, a better all-around cast or finer direction. Its defect is its grimness. Director William Wyler, however, sets himself a tempo which is in rhythm with the Malay locale.
  14. Strange Darling
    Writer-director JT Mollner flips the script on this tired genre, crafting the cleverest thriller of its kind in a while with a mighty assist from a pair of killer performances by co-leads Willa Fitzgerald and Kyle Gallner. Best experienced with as little foreknowledge as possible, Strange Darling demands a bit of patience, but it also rewards it.
  15. Concrete Utopia
    It’s a fractious, blood-soaked drama about the will to survive that feels like “Earthquake” crossed with “Lord of the Flies.” What’s gripping is that you watch it and think, “If I were in this movie, what would I do?”
  16. Plan C
    Urgent and unvarnished, Tracy Droz Tragos’ documentary Plan C is an early entry in what might be considered post-Roe cinema, focusing less on pro-choice ideology than on the practicalities of ensuring choice in a system increasingly stacked against the idea.
  17. Daaaaaalí!
    Dupieux injects his own particular brand of daffy humor too, writing, directing, shooting and editing his movie, cutting it along a bias that is familiar to those of us who’ve been paying attention to his recent run of form.
  18. Starve Acre
    Daniel Kokotajlo‘s impressive second feature unfolds in a vein of British folk horror that has been popular of late — with films from Ben Wheatley’s “A Field in England” to Mark Jenkins’s “Enys Men” all tapping into that retro “Wicker Man” eeriness — but rarely with such rattling sensory specificity or formal refinement.
  19. The Fall Guy
    The Fall Guy is funny, it’s sexy, and it features the boy toy version of “Barbie” MVP Ryan Gosling — which is to say, this time around, he embodies the ultimate action figure.
  20. A Normal Family
    The whole matter seems so morally ambiguous that it makes for an unpredictable ride, right up to the film’s abrupt but darkly poetic smash ending.
  21. The Tuba Thieves
    Without the rigidness of a concrete story, O’Daniel is able to command the medium in an invigorating manner. Though it requires that audiences surrender to its unconventional tactics, the reward is the opportunity to rediscover the familiar with a fresh set of eyes and ears.
    • 62 Metascore
    • 80 Critic Score
    Gambit
    Shirley MacLaine and Michael Caine star in a firstrate suspense comedy, cleverly scripted, expertly directed and handsomely mounted.
  23. Bad Press
    Following events over the course of several years, this cautionary tale has an impact not unlike watching the rise of similar anti-transparency policies and politicians elsewhere of late: dismaying, yet with all the lurid appeal and colorful personalities of any juicy public scandal.
  24. Good Grief
    Levy’s funny-sad contemporary drama acknowledges the supportive dynamic that Marc plays in Thomas and Sophie’s lives, even as it centers the gay best friend for a change — not so different from the one he played in “Happiest Season.” All three characters feel well rounded and real, especially in their imperfections.
  25. Civil War
    A literal shock to the system, Civil War is designed to be divisive.
  26. Apolonia, Apolonia
    Gazing upon great art often clears our minds, sharpens our thinking and invites new ideas in; in Apolonia, Apolonia, tracing the long-term push-pull of someone else’s artistic process appears to do the same for the woman behind the camera.
  27. Love Lies Bleeding
    Love Lies Bleeding turns consciously wild and garish, and you may think that the film is losing control, yet Rose Glass is fiercely in control of what she’s doing. She’s made a midnight noir that shoots over the top of our expectations but lands where it should, at a place where even valorous people have to go to extremes.
  28. Kinds of Kindness
    Lanthimos trades in discomfort, trusting his audience enough to take his brand of provocation as they please.
  29. The Brutalist
    It’s clear that Corbet made this movie because he wants it to mean something big. Whether it does may be in the eye of the beholder. Mostly, The Brutalist lets you feel that you’re seeing a man’s life pass before your eyes. That may be meaning enough.
  30. A Different Man
    With A Different Man, Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a postmodern meta-film mold that few (apart from Charlie Kaufman, perhaps) have managed to make tolerable.
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