Variety's Scores

For 17,810 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:
17810 movie reviews
  1. Genially cartoonish but also rather sweet.
  2. The haunted house setpieces provide reliable doses of jolts, even if one can see the scaffolding of each scare being built from miles away, and director Landon has fun with some clever camera placement here and there.
  3. Despite retaining the basic narrative architecture of its classic source, Hollywood Seagull too often feels like a trite, sudsy take on privilege, ambition and angst among showbiz players and wannabes — one that seemingly exists mostly to showcase real-life C-listers, aspirants and pals in the tradition of Henry Jaglom’s films.
  4. The film comprises an impressive directorial debut for Adler who demonstrates a confident grasp of pace, place and thesp handling.
  5. A slickly entertaining piece of work that will doubtless delight the young pop star’s fan base, and possibly engage curiosity-seekers who have heretofore remained immune or indifferent to Bieber Fever.
  6. Pavich does an admirable job tracking down surviving parties (except for the suspicious-sounding cast), opting for a humorous rather than indignant tone to the interviews.
  7. Essentially recasting “Grumpy Old Men” with the senescent specters of Rocky Balboa and Jake LaMotta, the result is sporadically amusing, with some chucklesome sight gags and crowdpleasing supporting turns from Alan Arkin and Kevin Hart, yet it’s all so overcooked that it defeats its own purpose.
  8. Mordaunt previously directed a docu in Laos that featured kids who sold unexploded bombs for scrap metal, and that earlier experience invests this feature’s characters and milieu with an absolute integrity.
  9. A partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo.
  10. Aiming for a Hitchcockian take on an eccentric auctioneer (well-handled by Geoffrey Rush) who becomes enamored of an heiress with severe agoraphobia, the pic ends up more in Dan Brown territory, with over-obvious setups and phony insight into the art establishment.
  11. As impressive as these visual elements prove to be, the film struggles to grab and maintain audiences’ interest, whether or not they know the underlying legend by heart.
  12. Hoogendijk has created an artifact that, while not exactly elegant, 400 years hence may prove as vital a window into Amsterdam culture as any of the Dutch masterpieces hanging in the museum itself.
  13. At their best, the lush yet punchy musical numbers that Acharya stages for Dhoom: 3 reach giddy heights of pop romanticism.
  14. Over the course of its generally absorbing if overlong 117-minute running time, it offers a brief and appreciably sympathetic take on the lure of fantasy, the pleasures of role play and the thrill of commanding the multitudes — which is to say that it’s, among other things, a film about filmmaking.
  15. The filmmakers’ undeniable chops and bizarre tonal shifts fail to transform the material into anything more than a stylishly gruesome exercise.
  16. A lean and suspenseful genre piece that follows a bloody trail of vengeance to its cruel, absurd and logical conclusion.
  17. Visually, “Walking With Dinosaurs” dazzles with its combination of Animal Logic-animated CG creatures...and beautiful practical backgrounds... Less dazzling is the constant stream of jokey banter, which thwarts the pic’s educational potential and caps its target age awfully low.
  18. A monstrously unfunny “Police Academy”/“Reno 911” knockoff directed with just enough winking self-awareness to seem both insipid and pretentious.
  19. [Swanberg's] latest work, All the Light in the Sky, displays a striking new willingness to meet his audience halfway, buttressing his signature style with clever pacing, solid technique and a deeply soulful lead performance from co-scripter Jane Adams.
  20. It’s one thing to declare sex a fact of life and insist that audiences confront their unease at seeing it depicted (or, equally constructive, their intense excitation at its mere mention), but quite another to fashion a fictional woman’s life around nothing but sex. As courageously depicted by Gainsbourg, Jo is ultimately a tragic character.
  21. Racy subject aside, the film provides a good-humored yet serious-minded look at sexual self-liberation, thick with references to art, music, religion and literature, even as it pushes the envelope with footage of acts previously relegated to the sphere of pornography.
  22. A big, unruly bacchanal of a movie that huffs and puffs and nearly blows its own house down, but holds together by sheer virtue of its furious filmmaking energy and a Leonardo DiCaprio star turn so electric it could wake the dead.
  23. Eschews hysteria, preachiness and self-importance in favor of calm, persuasive scientific arguments.
  24. More scenes of Richner’s admirable efforts in the hospital and fewer expressions of admiration by the doctors and nurses he trains would also have helped to anchor the film’s sincere but repetitive hosannas.
  25. An ingeniously simple setup is cunningly exploited for maximum suspense in Hours, a slow-building, consistently engrossing drama.
  26. There’s an upbeat tenor to Desert Runners that develops real rooting value for the protags.
  27. A modestly less quotable but generously funny new adventure for scotch-and-mahogany-loving 1970s newsman Ron Burgundy.
  28. With enormous sympathy for all, Al Mansour captures the isolation of Saudi women and their parallel lives of freedom at home and invisibility outside.
  29. At this finely tooled tragedy’s core towers Emilie Dequenne, no longer the feral young thing seen in 1999′s “Rosetta,” but a trapped animal pushed to devastating extremes.
  30. Structurally, the film is somewhat rambling and unfocused even within its tight 40-minute running time, cutting away periodically to address the ways in which overfishing and rising water levels have severely impacted the reef and its ability to support plant and animal life. The lessons are valuable and necessary, but they’re not particularly well integrated.

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