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. The Mind's Eye
    The film has the visceral kick of brainiacs willing each other into bloody oblivion, but struggles to justify its own stock mayhem, much less plumb Cronenbergian depths.
  2. Front Cover
    While there isn’t much subtlety or surprise in Yeung’s screenplay, his direction is restrained and graceful enough to make this a pleasant if unmemorable bittersweet love story.
  3. Neither Heaven Nor Earth
    The ensemble commits to the premise with utmost gravity and conviction, enabling our belief in even the most improbable interpretations of its core enigma.
  4. Suicide Squad
    On paper, this could have been the antidote to an increasingly codified strain of comic-book movies, but in the end, it’s just another high-attitude version of the same.
  5. The Tenth Man
    This is the sort of quiet, well-observed comedy that is characteristic of Burman’s oeuvre, and it’s in ample supply here.
  6. Embers
    Embers offers a series of compelling premises and never follows through on them, content to drift along on its characters’ dull malaise and allow self-conscious visual poetry to stand in for real emotion.
  7. Spa Night
    Spa Night serves as an homage to the sacrifices first-generation immigrants made in order that their children could achieve their full potential in the States, expanding the concept of “pride” far beyond its protagonist’s gay identity.
  8. Women He's Undressed
    The film overstays its welcome by punctuating his story with ill-advised dramatic fantasy sequences that are meant to illustrate the anguish of a gay man in mid-century America, but come across as heavy-handed and mean-spirited.
  9. Miss Sharon Jones!
    One can’t help but feel inspired by both Jones’ sparkplug attitude and the gentle way those around her respond to her needs.
  10. The Land
    The Land feels a few drafts away from succeeding on its own terms. Still, there’s enough on screen, beyond Lendeborg’s confident star turn, to label Caple as a filmmaker to watch.
  11. Ants on a Shrimp
    Dutch helmer Maurice Dekkers devotes most of his film to the celebrity chef’s extensive foraging, while his abstemious staff harps on about the onerous pursuit of perfection; one crucial missing ingredient, however, is the joy of eating or cooking.
  12. Lace Crater
    First-time director Harrison Atkins never quite finds his own distinct voice. He dabbles in horror and deadpan comedy, experiments in discordant jags on the soundtrack, and suggests a more fluid boundary between the living and the dead, but the film remains stubbornly hazy and obscure in its intentions.
  13. Bad Moms
    Where Bad Moms plunges into zesty new satirical terrain is in capturing the ruthless one-upmanship of the mommy-wars era, when all the progressive thinking of the last 40 years has only ratcheted up the perfectionistic demands on children and parents alike.
  14. Hieronymus Bosch, Touched by the Devil
    Hieronymus Bosch: Touched by the Devil brings us literally closer to Bosch’s images than one could probably get in almost any museum. As directed by Pieter van Huystee, the film offers a true immersion in his artistry. But it’s also a little slipshod — an off-kilter window into the politics of the art world. It’s like a fascinating magazine feature with some missing pieces.
  15. Pete's Dragon
    One of the year’s most delightful moviegoing surprises, a quality family film that rewards young people’s imaginations and reminds us of a time when the term “Disney movie” meant something: namely, wholesome entertainment that inspired confidence in parents and reinforced solid American values.
  16. Nerve
    Nerve is a comic-book vision of how the Internet has become a gladiatorial arena of voyeurism. But the movie, like the game it’s about, is hard to stop watching, even when you know it’s playing you.
  17. Jason Bourne
    This explosive reunion between Damon and director Paul Greengrass further reveals key secrets about Bourne’s origins, bringing its lethal protagonist as close as he’s ever likely to get to total recall.
  18. London Road
    There’s an over-compensatory fussiness to its most elaborate formal conceits, with the gradual shifting of the pic’s palette from desaturated December grays to iridescent oil-pastel tones a crude symbolic device.
  19. The Commune
    For Vinterberg, this uneven but nonetheless absorbing pic at least marks a return to characteristically bristly territory.
  20. The Alchemist Cookbook
    This unclassifiable miniature involving a man in a trailer in the woods trying to contact the Dark Lord is as funny and distinctive as it is near-plotless.
  21. As the Gods Will
    There’s a confused sci-fi element and a perfunctory nod to society’s benumbed attitude toward violence, but really, the pic is just an excuse for more splatter from a director who, as always, knows his target audience.
  22. Author: The JT LeRoy Story
    Whatever literary talent Leroy was praised for shouldn’t have been so quickly forgotten and dismissed by those who’d once championed it. However, that praise was won under false pretenses — and while you can criticize Leroy fans for claiming to love the writing when they really fell in love with the myth it came packaged in, you can’t blame them for feeling ripped off.
  23. The Blackout Experiments
    The result is interesting enough, but feels a bit overextended at feature length considering the limited insight afforded.
  24. The Love Witch
    The fact that the films that serve as her models often sported the same flaws doesn’t excuse this fairly poker-faced spoof’s sometimes borderline-torpid pace and disappointing fade-out.
  25. For the Plasma
    Only faintly touching upon notions of intuitive collaboration and inspiration, For the Plasma wanders about as if it’s in a fog, ultimately to the point of pointlessness.
  26. Summertime
    Summertime celebrates the unique couple’s chemistry, allowing their smiles to convey the transformative effect they have on one another.
  27. The Girl King
    It’s hectic, unsubtle, borderline cartoonish.
  28. The Violators
    This study of adolescent desire and alienation across class lines takes its time nurturing a tensely ambiguous relationship between its two young female leads — alertly played by newcomers Lauren McQueen and Brogan Ellis — only to squander a measure of that intrigue on a blunt third-act twist.
  29. Train to Busan
    Train to Busan pulses with relentless locomotive momentum. As an allegory of class rebellion and moral polarization, it proves just as biting as Bong Joon-ho’s sci-fi dystopia “Snowpiercer,” while delivering even more unpretentious fun.
  30. Sand Storm
    The director juggles different points of view with aplomb, and her strong script addresses with impressive subtlety the gap between what people say and what they do under extreme pressure.
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