Variety's Scores

For 17,777 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:
17777 movie reviews
  1. Dagg’s thriller is slow to get going and hampered by an inexpressive leading man.
  2. 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.
  3. 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.
  4. 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.
  5. House of Z captures the way in which direct hands-on engagement is vital to an artist’s continued relevance, and vitality.
  6. 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.
  7. 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.
  8. That The Trip to Spain is unabashedly more of the same is good news…but not entirely good news.
  9. The Lovers is a comedy of Middle American doldrums that leaves you rooting for its characters instead of smirking at them.
  10. Driven by both empathy and a passion for justice, “How to Survive a Plague” director David France’s stellar documentary charts an investigation into the still-unsolved death of trans icon Marsha P. Johnson, along the way illuminating the persistent discrimination that exists today, and the bonds of community designed to counter it.
  11. It’s a pleasure to see such a fine actress navigate the nuances of her role.
  12. From one wild mood swing to the next, it keeps us interested with aplomb, with Mike Makowsky’s script never lingering too long on any one element, the better to keep the pace brisk, and unpredictable.
  13. This is a plot that feels lazily reverse-engineered from a collection of disparate, pre-existing scenes and elements, rather like one of those cooking shows where contestants are given a selection of random ingredients and forced to come up with a meal.
  14. There are some very funny bits and pieces scattered amid the proceedings, along with a few darkly comical gags that appear to belong in a different movie, but are more than welcome here.
  15. Director Kitty Green’s high-concept documentary Casting JonBenét breaks fresh ground, probing the public, rather than family members or suspects (often the same thing).
  16. Perhaps Dillard is too young or green to escape the recycled clichés that constitute the bulk of his script (co-written with Alex Theurer), and yet, charitably speaking, Sleight shows potential.
  17. The Wall succeeds because of Worrell’s words.
  18. This sentimental film takes things one step at a time.
  19. A sexually frank but narratively flimsy girl-meets-girl romance that never gets under its gorgeous characters’ amply exposed skin.
  20. You could call The Circle a dystopian thriller, yet it’s not the usual boilerplate sci-fi about grimly abstract oppressors lording it over everyone else. The movie is smarter and creepier than that.
  21. NOLA Circus (the title refers to both a lead character and the abbreviation for New Orleans) is the kind of hideously unfunny folderol in which most cast members are encouraged to act at the top of their lungs to compensate for the witless script.
  22. An engaging and sympathetic documentary.
  23. Ultimately, the film’s elaborately-mapped plots are unraveled in a blow-by-blow account that doesn’t give the brain much of a workout, but makes it suitably accessible for a wider audience.
  24. When Tomorrow starts to make intellectual as well as geographical leaps and to draw macroeconomic, political, and social factors into its bright-eyed, approachable orbit, that’s when cynicism gives way to admiration, and admiration can flare into inspiration.
  25. Victoria Day (a very Canadian holiday) is expertly put together, the editing and framing so sturdy and right that the twin currents of the film flow over the viewer unimpeded.
  26. If, overall, Obit is merely pleasant in a predictable, innocuous way, it’s nonetheless well-crafted and moderately educational.
  27. Slee’s film boasts such a high level of writing, acting, and overall production polish that youngsters may be fooled into thinking they’re watching a mindless blockbuster, when in fact, they’ve actually been fooled into thinking.
  28. After 40 or so minutes of teasing hints that its makers may have hit upon a fresh approach to found-footage thrillers, “Phoenix Forgotten” indicates the genre may be having its last gasp on life support as the movie devolves into yet another threadbare patchwork of mounting hysteria, faux cinéma vérité, and shaky-cam visual clichés.
  29. Competent if pedestrian Urban Hymn takes a familiar walk down the path of inspirational youth drama.
  30. It’s the narrative non sequiturs and comic vignettes sprinkled throughout that give the freewheeling pic its playful charm.

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