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. Tanna
    The pic weaves fascinating details of tribal life into a universally accessible and emotionally affecting romantic drama.
  2. Chuck
    The film is most thoughtful, and sometimes even painful, as a study of the pitfalls (and pitiful rewards) of local celebrity.
  3. The Beautiful Days of Aranjuez
    'Aranjeuz” has less of a pulse than the already inert “Every Thing Will Be Fine."
  4. Deepwater Horizon
    For a movie in which you can’t follow what’s going on for 75% of the time, Deepwater Horizon proves remarkably thrilling.
  5. Barry
    You could almost watch Barry even if you’d never heard of Barack Obama: The movie is simply interested in what it looks like when a guy who’s got this much going for him has a piece missing.
  6. American Pastoral
    Groping for grand tragedy and finding only actorly melodrama, shooting for political contrarianism but landing instead on reactionary conventionalism, American Pastoral is as flat and strangled as its source is furious and expansive.
  7. All I See Is You
    Look past the gimmick, and all that remains is an overly arty study of a lopsided marriage in which super-attentive husband James (Jason Clarke) actually seems to prefer when his wife Gina (Blake Lively) can’t see — and another opportunity for Lively to prove that she’s more than just a pretty face.
  8. The Age of Shadows
    If anything, the film is most indebted to classic cloak-and-dagger movies, in which sharp, richly succinct dialogue and plenty of atmosphere seem effortlessly carried along by the force of magnetic personalities.
  9. The Assignment
    Nobody — not even viewers willing to settle for good, unclean B-movie fun — is done any favors by something as crude as (re)Assignment, which gracelessly mashes together hardboiled crime-melodrama cliches and an unintentionally funny “Oh no! I’m a chick now!!” gender-change narrative hook.
  10. The Disappointments Room
    There is more mood than matter to be sampled in “The Disappointments Room,” a spooky psychological thriller — or, perhaps, a psychological thriller with spooks — that is initially intriguing but ultimately, unfortunately, lives down to its title.
  11. Blair Witch
    Setting up a number of promising kinks in the now-standard found-footage formula, as the seemingly spooked forest begins to close in its hapless victims, Blair Witch disappointingly casts most of them aside for a finale that does little to advance the series’ existing mythos.
  12. Eternity
    Éternité is a meditative, gorgeous-looking film imbued with such gentle sensitivity that it’s difficult to dislike. Yet the experience of watching it is much like sitting in an opulent garden café on a glorious spring morning, waiting for a meal that never arrives.
  13. Sing
    While there are no profound life lessons to be found in these subplots, Jennings and his cast manage to deliver a steady supply of laughs, while respecting one of Illumination’s core principles: It’s OK to be silly.
  14. A Monster Calls
    We’ve heard the same lesson countless times before in other movies, and though it’s certainly impressive to see Conor’s anxieties manifest themselves in such a stunning Ent-like being, as monsters go, Bayona’s creation is all bark and no bite.
  15. Level Up
    As it episodically flirts with absurdism, black comedy, and other offbeat flavors, Level Up seems to be simply trying on different attitudes without owning them.
  16. Kampai! For the Love of Sake
    “Kampai!” is scattered and rudderless, though the film’s biggest letdown is that it barely whets your whistle for a taste of sake. It might have been made “for the love,” but by the end the movie has squandered it.
  17. Scarred Hearts
    Emanuel’s likeability (more apparent in the film than in Blecher’s novel) unquestionably helps bridge the extended running time, and Solange is a fascinating character, liberated yet still drawn to the scene of her hospitalization. The film also has a sense of humor...but the project never quite comes together.
  18. The Fight Within
    Scene after scene (or, if you prefer, round after round) of “The Fight Within” is clunky and didactic, and the movie as a whole has appreciably less mainstream appeal than several other recent, and much better, faith-based dramas.
  19. Ithaca
    By turns poignant and plodding, affecting and affected, Ithaca is the sort of frustrating movie that’s just good enough to make you wish it were a lot better.
  20. Come What May
    Director Christian Carion’s first feature since 2009’s “Farewell” is bolstered by a sweeping Ennio Morricone score, yet his narrative is too episodic, and his characters too one-dimensional, to carry the weight of grand historical tragedy, resulting in a picturesque, middle-of-the-road effort.
  21. Snowden
    It’s the most important and galvanizing political drama by an American filmmaker in years.
  22. Command and Control
    Based on the harrowing book by Eric Schlosser (who not only co-wrote, but also appears in the film), this unsettling production...is equal parts history lesson, cautionary tale and nerve-rattling thriller, using all manner of nonfiction devices to elicit both horror and outrage over the precariousness of our deadliest arsenals.
  23. When the Bough Breaks
    The presence of a predominantly African-American cast arguably is the only distinguishing characteristic of this by-the-numbers thriller.
  24. Free Fire
    The fact that they could all lay down their weapons and finish the deal heightens Wheatley’s generally irreverent approach, all of which serves to remind that guns don’t kill people; insecure, overcompensating idiots do.
  25. The Apostate
    Gonzalo’s dalliances add up to precious little, but Veiroj’s comic tone finds purchase in his absurd run-ins with the bishop and a church so unwilling to lose a member from the rolls that they’ll stick him in a bureaucratic roundabout until he gives up.
  26. The Magnificent Seven
    Fuqua is trying for John Ford meets Sergio Leone: a funky classical sweep, with room for delirious shootouts. The trouble is that he mimics the trademarks of those directors without their élan, and the plot that was once catchy is now rote.
  27. Peter and the Farm
    With this rueful, cantankerous yet hugely charismatic figure at its center, Tony Stone’s beautiful documentary reveals the twin burdens of working the farm alone while beating back an encroaching inner darkness.
    • 71 Metascore
    • 90 Critic Score
    Nocturama
    Bonello replies to the news with a magnetic and purely cinematic gesture.
  29. Starving the Beast
    Starving the Beast repeatedly sounds cautionary notes that escalate to the level of fretful alarms. And yet, for all that, the movie never seems shrill or didactic.
  30. Fear, Inc.
    The main thing early reels have going for them isn’t any actual cleverness or wit, but Neff’s pleasant riffing within a stock slacker-bro role. When his character stops having fun, so does the audience. Though needless to say, the unimaginative references to prior/better horror flicks just keep on a-comin’.
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