Variety's Scores

For 17,831 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:
17831 movie reviews
  1. Despite all this boilerplate gangster-with-a-heart-of-gold stuff, there's an emotional payoff to "Joe May" that feels solid and right.
  2. Real people may not be this glib and witty, but Rosen and Lister-Jones sell us on Casper and Becky nonetheless.
  3. The film observes a guy verging on poverty or riches with a bounty of beautiful imagery and fresh angles on skateboarding culture.
  4. An impressive, thought-provoking astro-adventure that benefits from the biggest screen available.
  5. Slow-burning buildup, lack of explicit mayhem and overall low-tech approach may strike cineastes as amusingly quaint.
  6. Jason Cohn and Bill Jersey's sprightly documentary weighs its subjects' unique accomplishments and widespread influence while probing a relationship more complex than its sunny public face indicated.
  7. As anthropology lessons go, Knuckle is strong stuff, and it's easy to accept Palmer's conclusion that the problem he's showing us may well have no solution.
  8. Producer Charles Evans Jr.'s directorial debut finds an engrossing suspense angle in the involvement of Victor DeNoble, an idealistic scientist-turned-whistleblower whose suppressed corporate research became the bombshell catalyst in that struggle.
  9. When discussing tastemakers of the 20th century, few names conjure "style" with the zest of Diana Vreeland, and documentary The Eye Has to Travel gets the zing just right.
  10. Roadie features some wonderfully evocative music out of its characters' collective past (local legends the Good Rats, for instance) but like Jimmy himself, it takes a bit of a push to get the picture going, which it gets, both emotionally and dramatically, thanks largely to its ensemble.
  11. Resembling an all-male late-20th-century version of the Ziegfeld Follies, the cabaret group Dzi Croquettes used an empowering sexuality to counter Brazil's military dictatorship. Dzi Croquettes -- the Documentary is Tatiana Issa and Raphael Alvarez's pleasure-packed exploration of the group's impact.
  12. A delicious comedy-romance with a sweet-toothed twist from Gallic director Jean-Pierre Ameris ("Lightweight").
  13. The late Chogyam Trungpa's very colorful life makes for a most engaging narrative here.
  14. A must for the equine-inclined, and a candid look at fearful ambition.
  15. Boasts way better production values than the penny-pinching 1981 original and conceivably could delight genre fans who have never seen the first version or its previous remakes/sequels. But it’s bound to play best with those who catch Alvarez’s many wink-wink allusions to Raimi’s picture.
  16. Deftly avoiding both the haphazardness of mumblecore and the fakery of studio romantic comedies, Khoury deploys a light directorial touch marked by assured thesping and a genuine appreciation for neurotic angst.
  17. Scene by scene, The Flowers of War is an erratic and ungainly piece of storytelling, full of melodramatic twists and grotesque visual excesses (a bullet pierces first a stained-glass window and then a girl's neck), which are nonetheless delivered with startling conviction.
  18. "Sweet, funny, clever comedy seeks crossover" would be the Craigslist come-on for Codependent Lesbian Space Alien Seeks Same, and it may well come true via Madeleine Olnek's wry homage to '50s sci-fi, urban dating and interspecies romance.
  19. Quietly intelligent and respectable.
  20. A surprise back-from-the-brink redemption proves reliably engaging in rock-doc Last Days Here, tracking three years in the life of cult musician Bobby Liebling, whose band Pentagram never capitalized on its early promise.
  21. Although rich in ideas and always compelling to look at, writer-helmer Patrick Keiller's latest semi-experimental pic Robinson in Ruins reps a minor disappointment after his outstanding, same-veined previous works, "London" and "Robinson in Space."
  22. This beautifully designed canine-resurrection saga feels, somewhat fittingly, stitched together from stray narrative parts, but nonetheless evinces a level of discipline and artistic coherence missing from the director's recent live-action efforts.
  23. In the face of rising sea levels, the Maldive Islands are the Alamo, and environmental crusader Mohamed Nasheed is their Davy Crockett. Boasting astonishing access, director Jon Shenk's The Island President documents a brave battle against overwhelming odds.
  24. Slightly surreal psychological portrait keeps things impressively light-footed and heartfelt.
  25. Moving and enlightening as it serves up a crash-course in 20th-century history.
  26. Unlike other mock documentaries, which unconvincingly pass themselves off as real, Chronicle cleverly embraces the format as shorthand for a new kind of naturalism, inviting audiences to suspend disbelief and join in the fantasy of being able to do anything with their minds.
  27. The worst that could be said of helmer David Gelb's feature debut is that it's perhaps a little over-garnished with backstory about Ono's relationship with his two sons, and is slightly repetitive. That said, this intrinsically compelling hymn to craftsmanship and taste in every sense should cleanse palates.
  28. A delightfully inventive valentine to his 83-year-old Lebanese grandmother, Mahmoud Kaabour's Grandma, a Thousand Times tenderly deconstructs the family-portrait genre, investing all manner of postmodernist distancing devices with emotional resonance.
  29. A must-see for stargazers of all ages.
  30. Gerwig, charmingly unflappable in "Greenberg," lets it all hang out here, unafraid to sacrifice likability to over-the-top hysteria as someone who cannot control herself, despite a lingering sense of her own absurdity. Alexander proves a worthily understated foil, his self-deprecatory whimsy recalling that of a young Johnny Depp.

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