Variety's Scores

For 17,832 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:
17832 movie reviews
  1. What’s ultimately less impressive is Stevens’ script, which to varying degrees draws on the templates of “The Amityville Horror,” “The Shining,” “Eyes Wide Shut” and other conspicuous predecessors, but lacks the original fillip or three that might have turned an enjoyable exercise into something really first rate.
  2. Spooky, intellectually titillating and darkly funny picture is definitely the kind of film where the less you know going in, the better.
  3. In its own weird way, Ismael’s Ghosts has something profound to say about the lingering pain of past relationships and the threat they still pose to the present, but it does so in such a needlessly complicated fashion, we can’t help but be overwhelmed. [Cannes Version]
  4. Trish is the plum part here, and a sensational Qualley — cycling through a ragged thrift-store wardrobe, with a lavish halo of dark curls that can’t help but recall her mother, Andie MacDowell — grabs it with both callused hands.
  5. An intermittently gripping story about an idealistic young boxer who becomes disillusioned with the Third Reich during his elite training, Napola is finally KO'd by an overdose of Nazi fetishism.
  6. After an hour or so spent establishing characters worth caring about, the narrative starts to devolve, and the more the film circles back to the mythology of “Ouija,” the sillier it gets. Much like the characters at its center, this prequel can’t outrun the ghosts of its past.
  7. There’s no denying, though, that Daniels knows how to push an audience’s buttons, and as crudely obvious as The Butler can be...it’s also genuinely rousing. By the end, it’s hard not to feel moved, if also more than a bit manhandled.
  8. A visually lush and very Westernized vision of life in a remote Chinese village in the early 1970s.
  9. It's an absorbing, vividly inhabited tale nonetheless, never exploiting its horrors but rather treating them as tough local realities.
  10. The script is faithful, the actors are just right, the sets, costumes, makeup and effects match and sometimes exceed anything one could imagine.
  11. A zippy and sardonic feast of bad decision-making under pressure, 11:14 artfully molds the seemingly unrelated misfortunes of 10 characters into a satisfying and consistently entertaining whole.
  12. Eden Lake doesn't feel like torture porn so much as a rural-jeopardy thriller in extremis.
  13. Strong performances, a few dramatically potent scenes and a vividly specific evocation of locale barely offset hackneyed and muddled elements in a script that plays like a first draft.
  14. A real-life inspirational comedy that should beguile viewers regardless of their operatic taste (or distaste).
  15. As engaging and stimulating as the man himself.
    • 65 Metascore
    • 70 Critic Score
    It's a mature assignment for Cruise and he's at his best in the darker scenes.
  16. The caustic wit and brute force of Patrick Marber's acclaimed play come across with a softened edge in Mike Nichols' bigscreen version of Closer.
  17. A thorny subject is handled with care in this meticulous reconstruction of life inside the East German police state, as boiled down to the experiences of just two ex-inmates -- one man and one woman --- of a notorious Stasi prison. Overall effect is poetically thought-provoking, not depressing.
  18. "Mundo" saves the full effect for dramatically lit performances at stopovers along the road, climaxing at the jam-packed Luna Park arena in Buenos Aires.
  19. Less cohesive and accessible than "The Maid" (which the Chilean duo co-scripted and Silva helmed solo), picture nonetheless contains unforgettable scenes.
  20. 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.
  21. This thoroughly engrossing, highly anticipated picture boasts assured direction by sophomore helmer Reema Kagti, a well-constructed script by Kagti and fellow femme writer Zoya Akhtar, and strong thesping by familiar Bollywood luminaries Aamir Khan, Kareena Kapoor and Rani Mukerji.
  22. This sloppy, button-pushing black comedy reveals a crew desperately in need of counseling — less in anger management than in the fundamentals of screenwriting, camerawork and structure.
  23. The screenwriter/playwrights have processed the characters’ last words in ways that imbue them with as much humanity as possible.
  24. Altina makes for loose, exasperating but oddly endearing viewing.
  25. 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.
  26. It’s heartening to see Ransome’s fiction taking on a new and more independent form, suggesting an ongoing relevance for a series of books that could easily be viewed as too dated for modern children. As the kids put it: Swallows and Amazons forever.
    • 65 Metascore
    • 70 Critic Score
    Revenge of the Pink Panther isn't the best of the continuing film series, but Blake Edwards and Peter Sellers on a slow day are still well ahead of most other comedic filmmakers.
    • 65 Metascore
    • 60 Critic Score
    All the excellent creative components do not add up to a whole. There are, however, strong elements in the film. Warden’s performance is outstanding. He makes the most of a script and direction which gives his character much more dimension than the prototype cuckold.
    • 65 Metascore
    • 30 Critic Score
    True to form, John Cassavetes challenges a Hollywood cliche: that technology is so advanced even the worst films usually look good. With ease, he proves that an awful film can look even worse.

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