Variety's Scores

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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:
  1. Positive: 9,133 out of 17777
  2. Mixed: 7,008 out of 17777
  3. Negative: 1,636 out of 17777
17777 movie reviews
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  1. Always Shine
    With her confident second feature, director Sophia Takal (“Green”) takes on Tinseltown misogyny and the toxic rivalry between friends, but that’s mere prelude to a gonzo meta-fiction that deconstructs itself nearly to death.
  2. Boo! A Madea Halloween
    It’s another of Perry’s raucous and slovenly comedies of responsibility, which means that its heart is in a very old — and right — place. If only a message that was this solid equalled solid laughs.
  3. Into the Inferno
    Into the Inferno proves most fascinating when documenting the ways in which primitive peoples invest these angry craters with spirits and gods.
  4. Yourself and Yours
    Buoyed by Hong’s romantic optimism, the immensely satisfying conclusion hints at the possibility of love as a renewable resource, so long as both partners are flexible to different terms. Yourself and Yours asks the audience to take the same leap — best to keep an open mind and go with the flow.
  5. First Girl I Loved
    This watchable but middling drama tackles a worthy, relatable subject without quite figuring out what to say about it.
  6. Michael Moore in TrumpLand
    Michael Moore In TrumpLand turns out to be a tossed hand grenade that doesn’t fully detonate.
  7. A Stray
    The result is modest, but has an earned emotional payoff.
  8. Jack Reacher: Never Go Back
    Zwick barely manages to tickle our adrenaline, waiting till the climactic showdown amid a New Orleans Halloween parade to deliver a sequence that could legitimately register as memorable.
  9. Creepy
    The film supplies a headlong rush of tension and cruelty all the way to a gratifying final payoff.
  10. Keeping Up with the Joneses
    An amiable time-killer of an espionage comedy.
  11. Ouija: Origin of Evil
    After an hour or so spent establishing characters worth caring about, the narrative starts to devolve, and the more the film circles back to the mythology of “Ouija,” the sillier it gets. Much like the characters at its center, this prequel can’t outrun the ghosts of its past.
  12. Priceless
    The screenplay by Chris Dowling and Tyler Poelle is, at best, predictable pulp with a smidgen of religion. Indeed, the characters are so thinly written that they are defined entirely by the actors portraying them. But director Ben Smallbone (brother of the movie’s lead player) is adept at generating suspense.
  13. The Whole Truth
    Looking back to “Frozen River,” Hunt’s long-awaited second feature shares the weaknesses of her debut — namely, a single-minded focus on a somewhat trashy predicament, with little to no room for subplots or other enriching details — while lacking in the earlier film’s strengths.
  14. The Lost City of Z
    The Lost City of Z is a finely crafted, elegantly shot, sharply sincere movie that is more absorbing than powerful. It makes no major dramatic missteps, yet it could have used an added dimension — something to make the two-hour-and-20-minute running time feel like a transformative journey rather than an epic anecdotal crusade.
  15. Billy Lynn's Long Halftime Walk
    There’s a grand paradox at work in Billy Lynn’s Long Halftime Walk. The film isn’t simply a technological experiment; it’s also a highly original, heartfelt, and engrossing story. And part of the power of it lies in the way that those two things are connected.
  16. Max Steel
    [A] drearily lame time-waster.
  17. Mirzya
    The life-and-death stakes are there, but the people involved — while uniformly ravishing to gaze upon — are too wanly sketched for this melodrama to pump much blood.
  18. Little Sister
    Clark’s fifth feature is marked by his characteristic brand of distorted realism, though a classically redemptive arc — with even a hint of spiked sentimentality — sounds a new note in his oeuvre.
  19. Kevin Hart: What Now?
    He leaps so quickly into exaggeration that he bypasses reality, and the result isn’t very funny.
  20. The Accountant
    The Accountant is nothing if not a puzzle — not so much a jigsaw as a three-dimensional brain teaser that gets deeper and stranger with each new revelation.
  21. Houston, We Have a Problem!
    It’s simply not about very much aside from lampooning the ease with which a canny storyteller (for such Virc undoubtedly is) can fabricate “truthiness” by co-opting the tropes and mechanisms that we all long ago accepted as the documentary norm.
  22. Tower
    A gripping dramatic reconstruction, a tribute to the heroes and the fallen, and inevitably an expression of nostalgia for the days when a mass shooting still had the power to shock, Keith Maitland’s film weaves rotoscopic animation, archival footage and present-day interviews into a uniquely cinematic memorial.
  23. The Great Gilly Hopkins
    While uneven in places, The Great Gilly Hopkins works because it boasts an actress tough enough for the title role.
  24. Inferno
    There’s a stern, let’s-get-to-work air to the film’s craft and conception that hampers whatever thrill of the chase “Inferno” has to offer. Fundamentally silly the film may be, but it never graduates to spryness.
  25. Trolls
    It’s an ecstatically happy movie, a giddy EDM kiddie musical that sends you out on a high.
  26. 20th Century Women
    20th Century Women is an endless chain of anecdotes, and though many individual moments are winning, the movie as a whole is rudderless. It never achieves an emotional power surge.
  27. Middle School: The Worst Years of My Life
    The fleeting counterbalance of seriousness makes the funny business marginally yet appreciably funnier.
  28. Green Is Gold
    Baxter packs the film with sound insights on masculinity and young adulthood, as well as the hand-to-mouth realities of black-market farming.
  29. Bilal: A New Breed of Hero
    The dialogue is very clear-cut, devoid of all contractions so that people speak in unnatural ways, though perhaps it makes the conversations clearer, especially to audiences whose native language might not be English. More problematic are the never-ending platitudes, all tied to spreading the message of equality.
  30. Courted
    Vincent’s calm, almost strenuously low-key film never gathers enough emotional momentum to become a fully dimensional romance — which might be its poignant intention.
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