Variety's Scores

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For 17,771 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 2.5 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: 9,130 out of 17771
  2. Mixed: 7,005 out of 17771
  3. Negative: 1,636 out of 17771
17771 movie reviews
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  1. Loving Vincent
    Loving Vincent may exist as a showcase for its technique, but it’s the sensitivity the film shows toward its subject that ultimately distinguishes this particular oeuvre from the countless bad copies that already litter the world’s flea markets.
  2. The Farthest
    Reynolds’ film conveys a legitimate, stirring sense of awe about mankind’s innate desire for adventure, discovery and communion with all that surrounds it.
  3. The Nut Job 2: Nutty by Nature
    As an animated entertainment, The Nut Job 2 lacks several key factors: memorable characters, a fun story, jokes that will appeal to adults as well as little kids. But one thing it does not lack is visual momentum.
  4. The Hitman's Bodyguard
    A delightfully ridiculous screwball action comedy.
  5. The Last Dalai Lama?
    The thing you want from a documentary about his holiness the 14th Dalai Lama is the chance to get right up close to him, in the way that movies can do. You want the chance to bask in his presence and come out with a heightened sense of what he’s about. The Last Dalai Lama? accomplishes that, and with an offhand eloquence, though it’s a sketchy, catch-as-catch-can movie.
  6. The Nile Hilton Incident
    Like the finest noir, what springs forth from Saleh’s film is the dreary belief that the bad sleep well while the rest are left to suffer in the streets.
  7. Machines
    This simultaneously beautiful and abjectly unhappy film is forced to close by silently admitting its limitations.
  8. After Love
    In a remarkable performance that at times suggests a desperate animal with nothing to lose, Kahn conveys the fact that Boris’ attachment to Marie hasn’t yet run its course.
  9. Savage Dog
    Savage Dog is a good deal less than watertight in terms of logic and credibility, but Adkins’ blunt-force physicality is sufficiently impressive to make it entirely believable that Tillman could emerge victorious when battling bigger and/or bulkier opponents.
  10. What Happened to Monday
    Wirkola’s film is set apart by its almost heroic lack of self-awareness: Not only does it not realize how dumb it is, there’s a real sense that it thinks it’s smart. In fact it’s a whirlygig of inanely convoluted plotting, deeply dubious philosophy and shots of Noomi Rapace sliding glasses across tables to herself. You should probably watch it.
  11. Brave New Jersey
    [An] uneven but ultimately winning comedy.
  12. The Glass Castle
    Cretton captures the incidents of Walls’ childhood (too many of them, to be honest, as the film really ought to be half an hour shorter), but struggles to connect them to the grown woman Larson plays in the present.
  13. The Only Living Boy in New York
    If it’s less punchy and original than “(500) Days of Summer,” it’s still a wry tale that deserves to be seen. Gerald keeps telling Thomas that life should be a mess, but in The Only Living Boy in New York it’s a pleasingly witty and well-observed one.
  14. Fun Mom Dinner
    A film that, for all its tinniness of craft and carelessness of storytelling, gets by on sheer force of personality.
  15. Armed Response
    Armed Response has less story than your average first-person shooter video game — and far fewer moments of exciting action or nerve-wracking suspense as well.
  16. 4 Days in France
    Unapologetically rambling but never dull at over 140 minutes, this story of two gay lovers both separated and united by mobile distractions of the flesh loiters coolly where the sensibilities of Jacques Rivette and Alain Guiraudie intersect — which is to take nothing away from the droll peculiarity of Reybaud’s own voice.
  17. I Dream in Another Language
    Contreras’ film uniquely honors the memories and experience embodied in our elders — which it is our responsibility to preserve, and their prerogative to take to their graves, if they so desire.
  18. Kidnap
    The implication is that Berry’s character, Karla Dyson, isn’t like other parents, and yet, what makes Kidnap so compelling is that she behaves exactly the way you think you might under the same circumstances.
  19. The Dark Tower
    It’s a highly competent and watchable paranoid metaphysical video game that doesn’t overstay its welcome, includes some luridly entertaining visual effects, and — it has to be said — summons an emotional impact of close to zero. Which in a film like this one isn’t necessarily a disadvantage.
  20. Gook
    Chon’s sophomore feature wavers uncertainly in tone, getting a little too cute for comfort in spots, but is otherwise a lively, auspicious breakthrough.
  21. The Black Prince
    Clunkily scripted and generically pretty in a Stately Home porn kind of way, the film is vaguely accurate in its sequence of events but falls completely flat on personal relationships, psychology and political undercurrents — in other words, the stuff that makes history come alive.
  22. Awaken the Shadowman
    A slow burn of a horror drama that doesn’t build toward quite enough of a blaze to be truly memorable, Awaken the Shadowman nonetheless ranks a cut above the genre norm for its atmospheric and confident setup
  23. The Force
    The strength, and fascination, of The Force is that the movie isn’t on anyone’s side. It’s cognizant of the brutality and violence that police officers, in our era, have been caught on phone cameras committing. At the same time, it’s not out to demonize the police — it’s out to capture the pressures they’re under, and to show us what their job looks like from the inside.
  24. Message from the King
    It’s a dark and all-around unpleasant journey to take.
  25. It's Not Yet Dark
    Not a film for cynics, It’s Not Yet Dark at times risks overplaying its heart-on-sleeve emotions, as Fitzmaurice also hazards in his writing. But both subject and execution here summon the skill, as well as sincerity, required to overcome skepticism.
  26. Columbus
    The hypnotically paced drama carried by the serendipitous odd-couple pairing of John Cho and Haley Lu Richardson is lovely and tender, marking Kogonada as an auteur to watch.
  27. Women Who Kill
    A shaggy, banter-driven quasi-thriller in the mode of “Manhattan Murder Mystery” (or the “Thin Man” movies, for that matter), Women Who Kill offers a drolly amusing, lightly macabre variation on the standard lesbian romantic comedy.
  28. It Stains the Sands Red
    Watchable if never really scary or funny enough to leave a memorable impression.
  29. The Emoji Movie
    There have been worse ideas, but in this case the execution isn’t good enough to bring the notion of an emoji movie to funky, surprising life.
  30. First Kill
    Frankly, if forced to bet between John McClane and Anakin Skywalker, I’d take the “Die Hard” tough guy every time, but that’s just the underdog factor Miller is going for, staging a reasonably entertaining series of off-road chases and backwoods shootouts en route to that final confrontation.
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