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. Though undeniably gorgeous, it is punishingly long, frequently boring, and woefully unengaging at some of its most critical moments.... Still, viewed through the narrow prism of films about faith, Silence is a remarkable achievement.
  2. The Bounce Back was co-written, directed, and edited by Youseff Delara, and for a while he creates some lively screwball tension.
  3. The differing responses Accidental Courtesy is likely to evoke in viewers make it a great conversation-starter for public and educational forums.
  4. An effortlessly engaging dramedy that somehow manages to sustain an air of buoyant sweetness even while repeatedly referencing erotic fantasies and sexual anxieties.
  5. Though it’s handsome enough to look at, Abattoir can’t quite seem to decide just how supernatural it wants to be or how meta its horror content should play
  6. It’s poised between reality and paranoid daydream, it’s about the dangerous ways that love can go wrong, and it does the thing that noir was invented to do: It sucks you in.
  7. Channeling the style of gritty mainland independent films but without the usual longueurs, the film deftly morphs into a suspense thriller with Dostoevskyan undertones.
  8. This fun if unmemorable occult thriller sports — all too faithfully at times — both the typical pleasures and shortcomings of the movies it pays homage to.
  9. Turn them loose, and this cast has nearly endless potential to be outrageous, and yet, the script...keeps interrupting the festivities with unnecessary details about whether the company will even be around tomorrow.
  10. There’s really nothing new here. Still, it’s hard to deny the sporadically satisfying nostalgic appeal of this dash down memory lane.
  11. Katie Holmes makes an undistinguished helming debut with All We Had, a middlebrow drama with no pretensions but also no depth.
  12. While Olds and Paul Felten’s screenplay requires some significant credulity leaps, The Fixer is flavorsome, engaging and unpredictable enough that one can give those gaps a pass, at least to an extent.
  13. Offers a relatively fresh take on standard-issue exorcism-melodrama tropes, along with a performance by Aaron Eckhart that is more than persuasive enough to encourage the investment of a rooting interest.
  14. Anonymous plods through a low-stakes tale that’s almost frictionlessly insulated against real-world consequences.
  15. As a self-aware guilty pleasure, The Belko Experiment may not quite seize greatness, but it does give it a playful squeeze.
  16. Lautner’s earnest turn, as well as those of familiar TV faces Johnson (“Bates Motel,” “The Shield”) and Zimmer (“Entourage,” “UnReal”), are hamstrung by writing that demands a certain emotional urgency while providing the performers little opportunity for surprise or nuance.
  17. An aggressively sincere but off-puttingly saccharine drama.
  18. Noble intentions alone do not a great movie make, as evidenced by Po, whose heart is in the right place but whose drama is woefully lacking in momentum.
  19. A dutiful and diverting but rather bare-bones documentary portrait.
  20. This finely crafted docu may well long stand as the most balanced among such treatments, as it respectfully examines Sands’ folk-heroic legacy rather than simply amplifying it.
  21. Magnus, it turns out, is the anti-Bobby: a fascinatingly “normalized” prodigy.
  22. Best Worst Thing That Ever Could Have Happened is a nimble documentary made with a personal touch of nostalgia, and it should prove nothing less than catnip to Sondheim obsessives.
  23. While it features some of the most breathtaking nature photography this side of BBC’s “Planet Earth” miniseries, this gorgeously cinematic docu ties said footage to a leaden all-purpose eco-consciousness message that nearly spoils the otherwise timeless experience.
  24. Fences has passages of fierce and moving power, but on screen the play comes off as episodic and more than a bit unwieldy.
  25. Keaton plays Kroc as a man both pathetic and singularly possessed, cannily resisting lovability at every turn, while delivering the internalized self-help speak of his sales pitches with chillingly glib precision.
  26. While the film initially exercises commendable restraint in braiding its separate narratives, its second half grows increasingly reliant on pat connections and coincidences.
  27. Allied is tense and absorbing, yet the film’s climactic act somehow falls short.
  28. While not every tonal downshift here is entirely fluid, this remains a smart, risky one-off, unconcerned with those (and there will be many) who can’t acquire its taste.
  29. It’s genuinely exciting megaplex entertainment, informed by extensive research, featuring bona fide movie stars, and staged with equal degrees of professionalism and respect.
  30. Imagine Paul Verhoeven’s “RoboCop” stripped of its politics, its wit, its humanity, and its craft, and that only gets halfway down the bottom of the barrel scraped by Officer Downe, a hyper-aggressive and thoroughly repugnant piece of comic-book juvenalia.

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