Variety's Scores

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For 17,760 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 2.3 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: 9,121 out of 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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  1. A Magnificent Life
    Magnificent as Pagnol’s achievements may have been, it’s a pity that the decades-spanning account of one of France’s greatest storytellers didn’t make for a better story unto itself.
  2. Dreams
    At times, the dramatic tension is so strong, “Dreams” could almost be a thriller.
  3. Peaky Blinders: The Immortal Man
    "The Immortal Man” serves as a handsome reminder of what always felt quite cinematic about the series — both in its beefy-but-pulpy storytelling and its robust, well-patinated production values.
  4. The Bride!
    It’s a scrappy punk feminist tragicomedy of l’amour fou, a renegade take-off on the “Frankenstein” myth. And while the movie doesn’t quite work — it lumbers along and blows fuses; it has lots of flesh and blood but not enough storytelling spine — there’s a spark of audacity to it.
  5. For Worse
    For Worse might be a tiny step among its kind, but it still feels like a leap for its thoughtful auteur, ultimately celebrating new beginnings as an ageless milestone.
  6. An American Pastoral
    Edler and editor Barbara Bascou maintain a sense of urgency in this two-hour film by foregrounding human convictions and frailties amid a surfeit of increasingly ugly rhetoric.
  7. Our Hero, Balthazar
    It’s a cutting, audacious, and at times astonishing movie.
  8. Hoppers
    Hoppers never stops surprising you in rudely antic ways, and that’s the essence of its delight.
  9. Idiotka
    Popov delivers a boisterous tale of a woman coming into her own, told with real humor and heart.
  10. Scream 7
    Simply put, Scream 7 isn’t very scary, and it isn’t very inventively gory (which some of the sequels have been).
  11. Late Shift
    In its cool, propulsive procedural tracking of ward activity, Late Shift quite sufficiently makes its point regarding the monumental challenge and value of Floria’s work, and that of thousands like her.
  12. American Doctor
    It is a necessary watch because it dares its audience not to look away, forcing the question not only of whose story is told, but whose deaths matter and make headlines.
  13. Rose
    At once armored, guarded and intensely vulnerable, Hüller’s performance is the human factor here — a volatile, unpredictable element, but one nonetheless attuned to the film’s meticulous shaping and mise-en-scène.
  14. Yellow Letters
    At its core is the kind of cinema that has long sustained the medium at large: the family drama. But it’s presented here with invigorating flourishes that encircle the story within specific moments in time, while also granting it a stirring dramatic transcendence. The scope of its ambition is met, at every turn, by deft control over what is witnessed, and how.
  15. The Ballad of Judas Priest
    If you think The Ballad of Judas Priest, from co-directors and Priest fans Tom Morello and Sam Dunn, is going to be anything other than an ode to everything that’s great about the British headbangers, you’ve got another thing coming.
  16. Joe's College Road Trip
    In Joe’s College Road Trip, Tyler Perry doesn’t just let his hair down, he isn’t just having down-and-dirty fun — he’s wildly, deliriously profane. The movie is a rude and rollicking lark, which makes it an anomaly in the Perry canon.
  17. Paul McCartney: Man on the Run
    Neville’s movie serves as a splendid jukebox, offering rapid-fire clips that bowl you over anew with just how rapidly McCartney’s own synapses were firing on ingenious hit after hit.
  18. How to Make a Killing
    It’s a light-fingered drop-dead screw-loose noir — a quasi-satirical mash-up of greed and desperation and Wall Street chicanery and a dash of romance, with Glen Powell, dishy in Brioni suits, turning his pin-eyed handsomeness into a mask of yuppie treachery.
  19. Dracula
    It’s not as if we needed to see “Dracula” remade as a blood-soaked Valentine’s Day movie.
  20. Redux Redux
    Boasting a brawny aesthetic and the kind of loopy logic where it’s fun to fill in the gaps, the high-concept thriller gives a different take on the arc of history bending towards justice.
  21. Rosebush Pruning
    Rosebush Pruning makes its anti-capitalist points tartly enough in such moments, but the twistier things get, the sillier they get too — while any social commentary begins to feel like a thin cover for so much luridly gross, glossy spectacle. Still, there’s pleasure in the film’s excesses, mainly because Aïnouz and his team present them with such febrile, iridescent beauty.
  22. Crime 101
    Crime 101 is an underworld drama that’s clever and compelling in unusual ways.
  23. Butterfly
    Striking and often unpredictably moving — before an ungainly third act that frays into a profusion of endings — Søimer Guttormsen’s film places a lot of trust in its leads, erstwhile “Worst Person in the World” co-stars Renate Reinsve and Helene Bjørneby, to sell its wild swerves in mood and perspective. Both are up to the task.
  24. Solo Mio
    The directing brothers Charles and Daniel Kinnane have worked with James before (“Home Team”) and know what they have in the ridiculously amiable star. They also know there’s more, if not depth, soulfulness to his talents. In the place of pratfalls, they’ve found a kind of sheepish charm and hurt.
  25. Arco
    Arco looks at once fantastical and recognizable, removed just enough from what we know in our present, but grounded on familiar, childlike amazement.
  26. The Strangers: Chapter 3
    This is an unconscionably lazy piece of work, the kind of movie that makes you marvel how people will put months of work into creating a feature film whose script seems to have been written in a few hours’ uninspired haste.
  27. Wuthering Heights
    For nearly two centuries, Brontë’s book has been a romantic fantasy for readers. Fennell treats it as an erotic one as well, leaning into all that is sensual.
  28. GOAT
    In outline, GOAT doesn’t do anything terribly unorthodox, but the joy of the film lies in its dreamscape design, in the funky cut and thrust of its patter, and in its touching off-center sincerity.
  29. Exit 8
    Like the game, which is popular as kind of a one-off without much replayability, Exit 8 is designed to divert for a short time and does so enjoyably, with Kawamura proving a most judicious assessor of just how little backstory, plot explanation and character development he can get away with and still keep us engaged.
  30. Take Me Home
    This is not an autobiography. Take Me Home is instead a deeply felt examination of the challenges so many face when familial love is swamped by economic reality. The director puts a lot on her characters’ shoulders to illustrate how unsupported and isolated illness and disability can be.
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