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. Tunnel
    While Kim Seong-hun’s Tunnel sounds like it resembles any number of creepy tunnel pics or grand catastrophe epics, it’s actually a lean, enjoyable disaster story with enough distinctive elements to make it feel relatively fresh.
  2. The Wild Life
    Whether dangling characters off the edge of a cliff or zooming around Crusoe’s rickety wooden waterslide, the story is constantly on the go, launching objects and characters along the Z axis — and out over the audiences’ heads.
  3. Voyage of Time: Life's Journey
    Voyage of Time has too many spellbinding images to count, but as a movie it’s just okay.
  4. The Bad Batch
    Though there’s much to savor in the pic’s lavishly distressed visuals and soundscape, its narrative feels increasingly stretched and desultory.
  5. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    It can take a TV series an entire season to establish a political intrigue as elaborate as the one Cedar devises here — and even longer to flesh out such a fascinating protagonist, when all Cedar had to do was give this archetype a name.
  6. Maudie
    What little dimension Maudie offers is a direct result of Hawkins’ contributions, which draw from her character’s past to add texture to her performance.
  7. Bridget Jones's Baby
    Despite Zellweger’s appealingly warm, vulnerable performance, the film itself is a mixed bag.
  8. One More Time with Feeling
    If it’s sometimes a rambling, indulgent experience, it’s also a beautiful one.
  9. Hacksaw Ridge
    Hacksaw Ridge is the work of a director possessed by the reality of violence as an unholy yet unavoidable truth.
  10. Bleed for This
    Teller is terrific, which should come as no surprise to “Whiplash” fans, though no less significant, the film represents a significant return for writer-director Ben Younger.
  11. Moonlight
    A socially conscious work of art as essential as it is insightful.
  12. Sully
    With his snowy white hair and moustache to match, Hanks conveys a man confident in his abilities, yet humble in his actions, which could also be said of Eastwood as a director.
  13. The 9th Life of Louis Drax
    For Aja, who has demonstrated an appetite for truly twisted material in the past, it all adds up to a disappointingly tame outing.
  14. Nocturnal Animals
    Ford is a true moviemaker — a social observer who’s a junkie for sensation and narrative. He has structured Nocturnal Animals beautifully, so that the past feeds into the present, and fiction into reality.
  15. Zoom
    Morelli and tyro scribe Matt Hansen unpack this Charlie Kaufman-lite premise with more cleverness than wit, struggling particularly to find the right racy tone for various erotic interludes — but the part-toon pic’s neatly collapsing structure and pop-art flourishes ensure it’s never dull.
  16. The Seasons in Quincy: Four Portraits of John Berger
    Swinton’s warm, unassuming direction generates an intimacy that does much to compensate for the overarching project’s wispiness — although even her clear affection for Berger can’t ultimately make “The Seasons in Quincy” more than a for-aficionados-only companion piece to his pre-existing paintings and writing.
  17. Arrival
    Adams draws on her gift for making each and every moment quiver with discovery. The actress is alive to what’s around her, even when it’s just ordinary, and when it’s extraordinary the inner fervor she communicates is quietly transporting.
  18. La La Land
    La La Land isn’t a masterpiece (and on some level it wants to be). Yet it’s an exciting ramble of a movie, ardent and full of feeling, passionate but also exquisitely — at times overly — controlled.
  19. The Light Between Oceans
    The Light Between Oceans winds up taking one too many self-serious twists and turns. The film earns its darkness, but it might have been even more affecting if it didn’t shrink from the light.
  20. Miss Hokusai
    Animation proves the ideal medium for Miss Hokusai’s relatively tame story, allowing audiences to admire the family’s artwork within a world that they were partially responsible for creating.
  21. Skiptrace
    Skiptrace remains lively, diverting, and essentially good-natured even when it’s cheerfully dumb, exploiting its diverse locations for every last drop of local color.
  22. Morgan
    It’s little more than a schlock replay of “Ex Machina.” It toys around with some of the same situations, but it doesn’t know where to take them. Instead of developing its themes, it uses them as grist for an overload of “commercial” action.
  23. Cameraperson
    Without narration or a conventional storyline, it’s a uniquely insightful memoir-cum-critical-treatise.
  24. Miss Stevens
    A tougher, wiser film might still have extended the characters a measure of compassion, but it might also have left the audience with a deeper curiosity about where life’s challenges could take them next.
  25. Mechanic: Resurrection
    In “Mechanic,” [Statham's] a mechanic of murder, of escape, of ingenuity, of combat. He’s too good (and too badass) to be true, but that’s why we like him. It would be nice to see Statham make a movie one day that’s accomplished enough to raise his game. Until that happens, Mechanic: Resurrection will do.
  26. Greater
    An insistent, clunky sermon about triumph through faith, David Hunt’s film is so determined to turn its subject into a Christ-like saint that it loses any sense of him as an actual flesh-and-blood man, the result being a third-string sports saga only apt to play to its devout target audience.
  27. Kickboxer: Vengeance
    This revamp (which ignores several interim direct-to-video sequels Van Damme did not participate in) is a bit shorter, a tad more stylish, and utilizes the same clichés a little less ponderously.
  28. Never
    Writer-director Brett Allen Smith’s quasi-romance meanders about with the same aimlessness as its characters, revealing nothing substantial about them, or twentysomething love and identity formation.
  29. The People vs. Fritz Bauer
    Though relatively conservative in its approach, Lars Kraume’s teleplay-style treatment of a still-touchy subject has the nerve to name names.
  30. When Two Worlds Collide
    The film makes its case powerfully, and the myriad parallel situations in which private commercial interests continue to trump environmental ones worldwide makes that viewpoint easy to accept as valid.
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