Variety's Scores

Select another publication »
For 17,794 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 2.4 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: 9,142 out of 17794
  2. Mixed: 7,015 out of 17794
  3. Negative: 1,637 out of 17794
17794 movie reviews
view
per page
  1. Everyone’s Life (Chacun sa vie)
    Everyone’s Life contains a few of the most effective individual scenes in the director’s recent filmography, as well as some of the most befuddling.
  2. 32 Pills: My Sister's Suicide
    Gripping and discomfiting, this first directorial feature by the veteran editor is the kind of diaristic inquiry that can seem self-indulgent but here sports a fearlessness that transcends vanity — at times it’s downright unflattering.
  3. Becoming Who I Was
    The endearing, guileless personalities of the two principals constitute much of the film’s appeal.
  4. Forbidden Games: The Justin Fashanu Story
    The short, mercurial, sometimes self-defeating life of professional soccer player Justin Fashanu is so packed with drama that “Forbidden Games,” Adam Darke and Jon Carey’s documentary about him, often feels like a narrative feature — one that engrosses even as its complex central figure defies full understanding.
  5. Brimstone & Glory
    Mixing sheer spectacle with modest but pleasing human-interest threads, Viktor Jakovleski’s first directorial feature is a poetical, entrancing documentary.
  6. Folk Hero & Funny Guy
    It’s mostly interested in the off-kilter but natural chemistry of its leads, who despite their differences come across as comrades who genuinely care about each other, and whose bond is solidified by their shared hangups.
  7. Natasha
    A pair of rich central performances, an authentic eye for its second-generation immigrant milieu and a novelist’s comfort with ambiguity allow Natasha to modestly transcend its overpopulated genre.
  8. Violet
    Devos depicts stages of grief not as a series of emotions but as an evolving alchemy of perception that surrounds the protagonist, distorting time, space, color and light in patterns of dislocation, muffling the synapses that connect sounds and images.
  9. The Drowning
    Whatever suspense it musters feels artificial, manufactured in the first half by withholding information all the characters already possess from the audience, and in the second by adding more curlicues and flourishes to the elaborate plot at the expense of nourishing the milquetoast characters.
  10. Snatched
    The movie’s mother-daughter jokes are like firecrackers with damp fuses.
  11. King Arthur: Legend of the Sword
    Ultimately, “King Arthur” is just a loud, obnoxious parade of flashy set pieces, as one visually busy, belligerent action scene after another marches by, each making less sense than the last, but all intended to overwhelm.
  12. Absolutely Anything
    It’s devastating to think how far Jones has fallen in the four decades since “Holy Grail,” in which he got more laughs banging a few coconuts together than he musters from his entire movie.
  13. Alien: Covenant
    As acts of creation go, Scott has made an “Alien” movie for that segment of the audience that has always rooted for the monster.
  14. Sacred
    It is entirely well intentioned. But the fair-mindedness of Lennon’s approach also contributes to a sense, ironically enough, of godlike detachment from the slivers of life and faith the film comprises.
  15. A Woman's Life
    A Woman’s Life has the kind of majesty found not in the grand gesture but the modest detail, the kind that accumulates resonance with each seemingly minor event until the picture of a character becomes as complete as a painting by Ingres. Or a story by Maupassant.
  16. Another Evil
    Another Evil is somewhat unpredictable and nicely played, but so low-key that the comedy as well as everything else feels almost too modest for feature scale; it has the throwaway, anecdotal tenor of a droll short.
  17. Burden
    A portrait of the artist emerges that’s complex, somewhat mysterious, but ultimately quite winning.
  18. Keep the Change
    It’s an ode to self-discovery and acceptance that’s as funny as it is sweet.
  19. Like Crazy
    Boasting a deliriously loquacious script together with a rare understanding of how to balance certain Italian caricatures with a grounding sense of realism – a combination that’s truly Virzì’s forte – the film takes two psychologically damaged women...and makes them into a mutually supportive duo who surprisingly touch our emotions.
  20. Long Strange Trip
    It has the sprawl and generosity of a good Dead show, yet there’s nothing indulgent about it — it’s an ardent piece of documentary classicism.
  21. Hounds of Love
    A harrowing ride that morphs from discrete horror to probing character study and back again in a vivid yet admirably restrained 108 minutes.
  22. The Divine Order
    Though the film’s feel-good construction undercuts its ability to surprise, Petra Volpe’s cine-history lesson remains a mainstream crowd-pleaser adept at inspiring and amusing in equal measure.
  23. Whitney: Can I Be Me
    It just has a story to tell, and it does that incredibly compellingly.
  24. River
    Dagg’s thriller is slow to get going and hampered by an inexpressive leading man.
  25. Sweet Virginia
    It’s this strange alchemy — the way that a terse script can leave so much unsaid, combined with such a talented ensemble’s ability to suggest all the details left either in silence or in darkness — that makes “Sweet Virginia” such a haunting character study.
  26. Ice Mother
    For the first time, older characters are at the heart of a Sláma film, and Kronerová and Nový repay the helmer-writer with warm, dignified turns that require both soul- and flesh-baring.
  27. I Am Heath Ledger
    I Am Heath Ledger is a catchy and seductive portrait of an extraordinary artist, but it leaves you wanting more, because you know it’s not close to being all of Heath Ledger.
  28. House of Z
    House of Z captures the way in which direct hands-on engagement is vital to an artist’s continued relevance, and vitality.
  29. The Pirates of Somalia
    The movie’s much too flashy, allowing its cheeky attitude to overpower the otherwise humanist message (somehow, absurd situations feel less so when the narrator is constantly pointing out how outrageous everything seems to be), while the acting is all over the place.
  30. The Clapper
    The movie is not entirely without charm — although it’s safe to say, it’s mostly without charm. In fact, the movie has so little charm to offer that it borders on insipid.
Page:

Top Trailers

See all »
See all trailers »