Variety's Scores

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For 17,833 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: 9,165 out of 17833
  2. Mixed: 7,031 out of 17833
  3. Negative: 1,637 out of 17833
17833 movie reviews
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  1. Fire Will Come
    You know exactly what climax is coming in Oliver Laxe’s rustically beautiful rural parable, but its dreamy, mesmeric power lies in the waiting.
  2. Beats
    Beats proceeds to give a dying scene its euphoric due, in a dazzling digression from stage-based form.
    • 75 Metascore
    • 70 Critic Score
    What Ever Happened to Baby Jane?
    Once the inept, draggy start is passed, the film’s pace builds with ever-growing force.
    • 74 Metascore
    • 70 Critic Score
    Days of Wine and Roses
    Miller’s gruelling drama illustrates how the unquenchable lure of alcohol can supersede even love, and how marital communication cannot exist in a house divided by one-sided boozing.
  5. Marianne & Leonard: Words of Love
    It’s an entertaining flashback to an always-diverting countercultural epoch, with a touching footnote of a semi-famous love story at its center.
  6. The Black Godfather
    The Black Godfather does yeoman’s work introducing a figure that few outsiders have likely heard of, but who needs no introduction in the power corridors of the entertainment industry.
  7. Running with Beto
    If it’s an optimistic beginning you’re after, Running With Beto makes for a fine start. Speaking as a former Texan, I’m so f—ing proud of how far the state has come.
    • 76 Metascore
    • 70 Critic Score
    Hell Is for Heroes
    Producer Henry Blanke has framed and mounted a gripping, fast-paced, hard-hitting dramatic portrait of an interesting World War II battlefield incident. But there are occasional duds in the film's dramatic arsenal.
  9. DC League of Super-Pets
    The movie, in its conventional and likable way, knocks the stuffing out of superhero fantasy. Its joke is that a mangy crew of animals doing outlandish CGI magic tricks is essentially what a comic-book movie is.
    • 59 Metascore
    • 70 Critic Score
    The Diary of Anne Frank
    A film of often extraordinary quality. It manages, within the framework of a tense and tragic situation, to convey the beauty of a young and inquiring spirit that soars beyond the cramped confinement of the Frank family's hideout in Nazi-occupied Amsterdam.
  11. Mike Wallace Is Here
    He left behind enough tape from both ends of the microphone that Belkin is able to create his entire documentary with old footage, juiced by retro imagery of broadcast air waves and vintage dials and knobs.
  12. Onward
    By the end of Onward, you’ll have chuckled and maybe choked up, and enjoyed a conventional ride.
  13. Ford v Ferrari
    Watching Bale and Damon channel those two speed freaks in all of their surly, testosterone-spitting glory is a reminder of how much fun it was to watch Bale play a similar character opposite Mark Wahlberg in “The Fighter.”
  14. Bottom of the 9th
    Director Raymond De Felitta steps back up to the plate with Bottom of the 9th, another dramatically solid and emotionally satisfying drama that pivots on a long-shot attempt to fulfill long-delayed dreams.
  15. The Etruscan Smile
    Brian Cox rages robustly and arrestingly against the dying of the light in The Etruscan Smile, an unabashedly formulaic yet undeniably affecting coming-to-terms drama that may cause as much discomfort as delight for those who recognize bits and pieces of their own fathers (or themselves) in the cantankerous character Cox portrays so persuasively.
  16. Emanuel
    Most of all, Emanuel demonstrates forgiveness is hard work that requires a divine-level of fortitude. Especially when it comes at direct odds with the ones you hold dear.
    • 60 Metascore
    • 70 Critic Score
    Cat Ballou
    Middlingly successful, sparked by an amusing way-out approach and some sparkling performances.
  18. Palm Beach
    The cast is clearly what sells the experience, but it all goes down easy through the combined efforts of Ward’s perceptive direction, the nuanced editing of vet Nick Meyers, and Bonnie Elliott’s warm, crystalline camerawork. Melinda Doring’s meticulous, crowded-but-not-cluttered production design settles everyone right in.
    • 55 Metascore
    • 70 Critic Score
    On the Beach
    On the Beach is a solid film of considerable emotional, as well as cerebral, content. But the fact remains that the final impact is as heavy as a leaden shroud. The spectator is left with the sick feeling that he's had a preview of Armageddon, in which all contestants lost.
  20. Jawline
    “I’m going to fake it till I make it!” vows Austyn. At first, “Jawline” also feels committed to his rise. Mandelup changes her intention so gradually that the third act of the film feels a little aimless. Still, she’s smart to momentarily give the mic to the female fans to explain their devotion, though the uniformity of their answers is depressing.
    • 67 Metascore
    • 70 Critic Score
    Blackboard Jungle
    Glenn Ford, Morrow and Poitier are so real in their performances under the probing direction by Brooks that the picture alternatingly has the viewer pleading, indignant and frightened before the conclusion.
    • 84 Metascore
    • 70 Critic Score
    Stalag 17
    The legit hit about GI internees in a Nazi prison camp during the Second World War is screened as a lusty comedy-melodrama, loaded with bold, masculine humor and as much of the original’s uninhibited earthiness as good taste and the Production Code permit.
    • 52 Metascore
    • 70 Critic Score
    The Hunger
    The Hunger [from the novel by Whitley Strieber] is all visual and aural flash, although this modern vampire story looks so great, as do its three principal performers, and is so bizarre that it possesses a certain perverse appeal.
    • 75 Metascore
    • 70 Critic Score
    Fail-Safe
    Fail Safe is a tense and suspenseful piece of filmmaking dealing with the frightening implications of accidental nuclear warfare. It faithfully translates on the screen the power and seething drama of the Eugene Burdick-Harvey Wheeler book.
    • 74 Metascore
    • 70 Critic Score
    Salt of the Earth
    Salt of the Earth is a good, highly dramatic and emotion-charged piece of work that tells its story straight. It is, however, a propaganda picture which belongs in union halls rather than theatres.
    • 93 Metascore
    • 70 Critic Score
    The Band Wagon
    Astaire, as the film star, shows his ability with a song and dance character.
    • 51 Metascore
    • 70 Critic Score
    Extreme Prejudice
    Extreme Prejudice is an amusing concoction that is frequently offbeat and at times compelling. Taut direction and editing prevail despite overstaged hyper-violence that is so gratuitous to be farcical.
    • 54 Metascore
    • 70 Critic Score
    Big Wednesday
    A rubber stamp wouldn’t do for John Milius. So he took a sledgehammer and pounded Important all over Big Wednesday. This film about three Malibu surfers in the 1960s has been branded major statement and it’s got Big Ideas about adolescence, friendship and the 1960s.
    • 64 Metascore
    • 70 Critic Score
    The Fury
    The Fury features Kirk Douglas and John Cassavetes as adversaries in an elaborate game of mind control. Director Brian De Palma is on home ground in moving the plot pieces around effectively.
  30. Jumanji: The Next Level
    More often than not, effects-driven blockbusters get dumber as the series goes along, but Jumanji: The Next Level invents some fun ideas to keep things fresh.
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