Variety's Scores

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For 17,835 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: 9,166 out of 17835
  2. Mixed: 7,032 out of 17835
  3. Negative: 1,637 out of 17835
17835 movie reviews
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  1. Bubble
    Likeable if unexciting little tale.
  2. ATL
    Higher on stylistic dazzle than originality or coherence.
    • 63 Metascore
    • 10 Critic Score
    The Lost Boys
    The Lost Boys is a horrifically dreadful vampire teensploitation entry that daringly advances the theory that all those missing children pictured on garbage bags and milk cartons are actually the victims of bloodsucking bikers.
  4. Thanksgiving
    Thanksgiving follows the rules of the slasher genre, but it’s got a more charged and entertainingly hyperbolic atmosphere than these movies used to have.
  5. Youth in Revolt
    Cera and his gifted comic co-stars elevate the mediocre source material into a semi-iconic coming-of-age story.
  6. Love and Monsters
    In Love and Monsters, love is good, monsters are bad and feeling like Tom Cruise is “awesome.”
  7. Mayhem
    A smartly constructed and sardonically funny indie with attitude that somehow manages the tricky feat of being exuberantly over the top even as it remains consistently on target.
    • 62 Metascore
    • 70 Critic Score
    Stage Fright
    Alfred Hitchcock doesn't stress melodrama throughout. He plays a surprising number of sequences strictly for lightness. Also, he has a choice cast to put through its paces, and there's not a bad performance anywhere [In this adaption by Alma Reville of a novel by Selwyn Jepson]. The dialog has purpose, either for a chuckle or a thrill, and the pace is good.
  9. Stander
    Takes a notorious true story about a loyal soldier-turned-bank robber, and pumps it up into charged if uneven entertainment.
  10. Stinking Heaven
    Whether scenes tilt toward very mordant farce or gut-stabbing trauma, there’s a compelling sense — crafted or otherwise — that the actors are driving the tone from scene to scene, with Silver and his incisive editor Stephen Gurewitz determining the emotional transitions between them.
  11. Uncorked
    An earnest, scrappy, and finally touching drama about a young man from Memphis who’s got a dream — he’s a wine buff who wants to become a sommelier — but if he follows it, it will tear him away from everything his father yearned for him to be. That, of course, is part of why it’s a tasty dream.
  12. Julia
    The miscalculated and overlong Julia proves a startling misfire for "The Dreamlife of Angels" writer-helmer Erick Zonca and dependably fearless actress Tilda Swinton.
    • 62 Metascore
    • 30 Critic Score
    Tequila Sunrise
    There's not much kick in this cocktail, despite its mix of quality ingredients. Casually glamorous South Bay is the setting for a story of little substance as writer-director Robert Towne attempts a study of friendship and trust but gets lost in a clutter of drug dealings and police operations.
  14. After the Cup: Sons of Sakhnin United
    An energetic, nicely balanced documentary containing all the necessary elements for sports reportage with the added advantage of meatier issues attached.
  15. Farmageddon
    Racks up damning anecdotal evidence without substantially altering the discussion.
  16. Amerikatsi
    Eventually, the two opposing modes of visual storytelling at its core (one distinctly intimate, the other distant and observational) come into explosive contact like matter and antimatter, as the idea of art metaphorically gazing back at its viewer takes distinctly literal form.
  17. Hotel Mumbai
    Sitting through the harrowing events again nearly a decade later could hardly be described as entertainment, and the film plays to many of the same unseemly impulses that make disaster movies so compelling, exploiting the tragedy of the situation for spectacle’s sake.
  18. Anything's Possible
    It still plays a bit too much like a public service announcement — where characters embody and express trans-accepting talking points — and not enough like the funny, sexy teen rom-coms that clearly inspired it.
  19. Severance
    Escalating blend of black humor and grisly goings-on in the wilds of Hungary fully delivers in its latter half.
  20. Totally F***ed Up
    This ultra-low-budget, Godardian "homo movie" feels like a step backward to his earlier group mopes rather than an advance beyond his provocative last film, The Living End.
  21. Happy, Texas
    Steve Zahn shines throughout Mark Illsley's feature debut, Happy, Texas, elevating this eccentric small-town comedy a notch or two above its level of writing.
  22. The Young Karl Marx
    It’s dutiful, but it’s also superficial and polite, and it commits the genteel sin of the old biopics: It turns its hero into a plaster saint.
  23. V for Vendetta
    Suffers from many of same problems as last two installments of producers Andy and Larry Wachowski's "Matrix" franchise: indigestible dialogue, pacing difficulties and too much pseudo-philosophical info.
  24. The Spiderwick Chronicles
    A work of both modest enchantment and enchanting modesty, grounded in a classically Spielbergian realm where childlike wonderment crosses paths with the tough realities of young adulthood.
  25. Oh, Hi!
    Gordon and Lerman are two committed performers with excellent chemistry and comic timing during these scenes, and much of Gordon’s physical work as the crazy soon-to-be-ex-girlfriend is genuinely impressive and funny. But the seams of Brooks’ writing show often, becoming impossible to ignore.
  26. Bleak Street
    Certain images...leave lasting impressions, though Garciadiego’s script doesn’t seem to do enough with the story, other than laying it out in linear order for Ripstein to film.
  27. Misbehaviour
    Misbehaviour says good riddance to a bad era in the brightest, politest way possible: too politely, perhaps, if you’re seeking a feminist comedy that actually lives up to the raucous promise of its title.
  28. The Same River Twice
    Has the built-in curiosity value of watching real people evolve on camera -- a fascination increased by subjects' original, variably sustained commitment to countercultural ideals.
  29. Simon & the Oaks
    Though it retains the narrative complexity of the Swedish bestseller on which it's based, WWII saga Simon and the Oaks never creates an emotional or intellectual throughline of its own.
  30. The Chronicles of Narnia: Prince Caspian
    Closer to a straight-ahead medieval battle picture than the fantastical, other-worldly journey depicted in "The Lion, the Witch and the Wardrobe," this new entry is a bit darker, more conventional and more crisply made than its 2005 predecessor.
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