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. Writer-director Douglas McGrath's boldest stroke is to impose a more overtly gay interpretation on a central relationship in which the attraction was generally supposed to be unspoken.
  2. Blessed with abundant production values and a minimum of campy excess, One Night With the King is a surprisingly satisfying attempt to revive the Old Hollywood tradition of lavishly appointed Biblical epics aimed at mainstream auds.
  3. PBS-bound docu constitutes a revealing look at a poorly understood chapter in American history.
  4. A rogues gallery of flamboyant gangsters paint an anecdote-rich portrait of the drug trade, while a steady stream of cops, coroners and crime reporters furnish social commentary.
  5. Showing a stylistic bravura and confidence rare among upcoming Spanish helmers, Ramon Salazar's campy 20 Centimeters is a self-regarding but vastly entertaining sophomore effort that fuses a wide range of influences -- Hollywood musicals, neo-realism and early-Almodovarian kitsch -- into a distinctive, giddy whole.
  6. A surprisingly conventional portrait of a decidedly unconventional man.
  7. Compelling result is handled with enough dignified artistry to quell most fears of exploitation.
  8. Result is a kidpic long on invention but short on likability.
  9. Sometimes becomes too self-consciously clever, and it doesn't entirely resolve its own central dilemma. But it remains inventive and funny to the end, features fine performances from Will Ferrell and especially Emma Thompson.
  10. Gripping drama.
  11. The offensive word that provides the title for Steven Anderson's penetrating documentary/social critique has either enriched or infected Western culture to the point that we're either drowning in a "floodtide of filth" or blessed with the best verbal relief valve ever devised by man.
  12. Richard Linklater's rough-hewn tapestry of assorted lives that feed off of and into the American meat industry is both rangy and mangy; it remains appealing for its subversive motives and revelations even as one wishes its knife would have been sharper.
  13. Impresses as a visually exquisite, rigorously intellectual but dauntingly obscurantist fable about automatons, opera singers and herniated desire that will appeal exclusively to arthouse auds with rarefied tastes.
  14. Emilio Estevez's Bobby is a passionate outcry for peace and justice in America that becomes deeply involving by the final climactic scene.
  15. A lavishly overstuffed gift basket of a movie.
  16. Ingmar Bergman lays his soul on the line in Marie Nyreroed's gentle, intimate and thorough documentay.
  17. Committed performances and strong widescreen lensing carry the message with a righteous, if heavy weight.
  18. Anchored by a terrific performance from Nick Nolte as a grizzled umpire who gets an unexpected second chance at fatherhood, this easygoing comedy-drama plays out slowly but assuredly, infusing a conventional story about a blossoming relationship with welcome reserves of honesty and humor.
  19. Genuinely funny, randy and moving by turns, breezily enjoyable throughout.
  20. Sarah Polley gives a wonderfully searching performance, as a woman in a state of extreme isolation, in The Secret Life of Words, a compellingly claustrophobic drama set mostly aboard an oil rig.
  21. More ambitious than her 2002 debut, "Blue Car," Moncrieff's new film maintains her focus on women, expanding to include a range of ages, circumstances and psychologies. Picture's drama, however, is deliberately fractured into a quintet of stories that vary considerably in their overall impact.
  22. It takes the bold approach of being earnest, honest and unafraid to be called naive. As a result, it's extremely affecting.
  23. Continually tickles the mind while leaving a heavy lump in the chest, establishing and sustaining a unique low-key tone of mystery and dread.
  24. Although shot over a longer period of time than "Lost Boys," God Grew Tired is a softer, less complex version of essentially the same story, far less troubling in its explorations and implications than "The Lost Boys," but with far greater commercial potential.
  25. A vital if less than objective slice of film journalism on the U.S.'s troubled history in the Third World.
  26. Thoughtful, incisive, controversial.
  27. Audiences hooked on Persian mainstream will devour this irreverent romantic comedy, spiced with saucy dialogue that spoofs traditional gender roles through gritted teeth.
  28. Building his dry comedy out of a basic confusion of names, an Army recruitment slip and one man's curiosity, Jacobs creates a droll, meandering and defiantly uncommercial film.
  29. A bold, often clumsy, but always intriguing piece of work.
  30. A basically admiring if critical portrait, documentary by Henriette Mantel and Stephen Skrovan (strangely, both standup comics and TV comedy writer-producers) finds more than enough absorbing material to hold interest through nearly three-hour runtime.

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