Variety's Scores

For 17,791 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:
17791 movie reviews
  1. The novelty of helmer Gardner’s approach to 9/11, her insider’s look at the almost unimaginable difficulties faced by Cantor Fitzgerald in the weeks following the attack, and the abundance of coverage spanning 10 years of inhouse interactions more than compensate for the docu’s occasional unevenness.
  2. Though the film comprehensively details the political and economic subtleties of what it declares “the crime of the century,” its narrative remains primarily a human-focused one, highlighting the stories of selected steadfast victims, as well as the heroic movers and shakers in the struggle.
  3. At least the narrative sloppiness and ineptly delivered themes in the script by Brian Bird and Lisa G. Shillingburg (freely adapted from the novel by Jim Stovall) feel of a piece with the entire production.
  4. Charged by alternating currents of nostalgic bemusement and wistful melancholy, TV Man: The Search for the Last Independent Dealer evinces all the amiable enthusiasm and discursive rambling one might expect from a do-it-yourself labor of love.
  5. Directed with an assured sense of style that pushes against the narrow confines of its admittedly fascinating story, John Krokidas’ first feature feels adventurous yet somewhat hemmed-in.
  6. There is something too dry and austere about Greengrass and Ray’s telescoped vision, which touches only fleetingly on the pirates’ motives, the suffering of the Somali people and the collateral damage of global capitalism.
  7. The film’s rather simplistic cultural juxtapositions, pitting artistic appreciators against status-seeking philistines, work best when narrowly focused on the subject of wine.
  8. Though never dull, the result is a curiously distant meditation on intimacy.
  9. The final days of a band of 1930s Christian rebels in the central Mexican wilderness are depicted with majestic stoicism in Matias Meyer’s elegant ode to independence.
  10. The concept is thought-provoking but the execution is flat-footed.
  11. Character actor Michael Cudlitz’s first leading role is the sole selling point of Dark Tourist, a well-acted but rote and ultimately repellent character study of a psychologically disturbed loner.
  12. Instructions Not Included is a sporadically amusing but unduly protracted dramedy that slowly — very slowly — devolves into a shameless tearjerker during its third act.
  13. “Waka” refers to an ancient form of poetry still widely popular today, and helmers Haptas and Samuelson, through their serene lensing and fluid editing, propose a visual thread linking the past to the present “as the crow flies.”
  14. Ass Backwards proves that no amount of comic talent can shine — or raise a chuckle — in the absence of even halfway decent material.
  15. An improbable but very enjoyable sequel that recaptures much of the stripped-down intensity of Diesel and director David Twohy’s franchise starter "Pitch Black."
  16. Milkshake sucks all the flavor out of a tasty premise.
  17. Decently acted despite screenplay shortcomings.
  18. It’s difficult to get past the film’s restless, ill-fittingly bombastic style.
  19. Holiff Sr.’s extensive audio diaries and taped phone conversations with Cash give authentic voice to the film’s otherwise stodgy re-creations of this true odd couple’s stormy relationship.
  20. Two minor problems in the closing reels hold the film back from instant-classic status.
  21. Even though mood trumps character psychology, the entire cast provides mesmerizing, evocative performances.
  22. To the extent that Adele’s hunger for affection resonates with audiences, what emerges is a powerful — if implausible — romance.
  23. Not just one of the great racing movies of all time, but a virtuoso feat of filmmaking in its own right, elevated by two of the year’s most compelling performances.
  24. Though the film brims with memorable characters, the show ultimately belongs to Ejiofor, who upholds the character’s dignity throughout.
  25. A documentary as messy as the movement it tries to portray, 99%: The Occupy Wall Street Collaborative Film possesses energy, passion and about a dozen documentaries inside it yearning to breathe free.
  26. A spellbinding, sensationally effective thriller with a complex moral center.
  27. That We Are What We Are steers just shy of silliness even at its most outrageous is in large part thanks to a committed cast of non-disposable character actors.
  28. Easily one of the dopiest major studio releases since Elie Samaha got out of the business.
  29. The director’s long-overdue follow-up to “Children of Men” is at once a nervy experiment in blockbuster minimalism and a film of robust movie-movie thrills, restoring a sense of wonder, terror and possibility to the bigscreen.
  30. [A] slick, smarter-than-usual conspiracy yarn.

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