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. Though high-octane stunts have always been the primary selling point here, Lin and veteran “Fast” screenwriter Chris Morgan have labored to add depth, dimensionality and inner conflict to the now-sprawling cast of recurring characters — so much so that, at times, “Furious 6” plays like a glossy gearhead melodrama.
  2. If the emotional mathematics don’t quite add up, enough diversion is provided by pic’s broader comic setpieces to paper over the cracks.
  3. A mood piece, a character study and an exercise in poetic gesture possessed of a sort of evanescent, secular spirituality.
  4. Von Trotta’s Arendt biopic feels like a movie stuck in another era, stolid and rote, more of an outline for a dramatic treatment than the real thing.
  5. Anchored by two intense, intertwined perfs by veteran Vincent Lindon and relative newcomer Soko, a musician who also composed the pic’s growling, atmospheric score, this period drama offers a coolly febrile study of madness, Victorian sexual politics and power.
  6. Icily disquieting rather than scary, the film is less an exercise in narrative than in tonal mastery.
  7. Plop plop. Fizz fizz. Oh, what a missed opportunity it is! In the well-cast but seldom funny satire And Now a Word From Our Sponsor.
    • tbd Metascore
    • 80 Critic Score
    An unquestionably eye-opening, deeply human, strikingly lensed look at an impoverished family whose rudimentary living conditions are a sharp riposte to the illusion of China’s economic boom.
  8. Jean-Francois Laguionie’s consistently enjoyable, inventive and beautifully crafted tale is a color riot suitable for all ages.
  9. While much of The World Before Her speaks to global womanhood, other aspects are more specific to India, but that’s what gives the film much of its life and spark.
  10. This scattershot documentary — an undiluted advertisement for this temple of high-end consumerism — jumps skittishly from subject to subject, disjointed and repetitive for all but dyed-in-the-wool fashionistas.
  11. There are no big surprises in store in terms of where this setup is headed...But the pic’s pleasures are nonetheless numerous, starting with its talented cast.
  12. Peeples may appropriate its entire premise and plot structure from “Meet the Parents,” but its heart is suffused with French cinema.
  13. More often, Gatsby feels like a well-rehearsed classic in which the actors say their lines ably, but with no discernible feeling behind them.
  14. The alternately playful and elegiac Stories We Tell is wholly of a piece with her fiction work, and just as rewarding.
  15. Violet & Daisy feels radically disconnected from recognizable human behavior.
  16. Markedly grander in scale, although never at the expense of its richly human (and half-human) characters, “Into Darkness” may not boldly go where no “Trek” adventure has gone before, but getting there is such a well-crafted, immensely pleasurable ride that it would be positively Vulcan to nitpick.
  17. This scrappy, draggy study in soul-crushing failure and disappointment is noteworthy primarily as a showcase for its lead actor’s most quintessentially Keanu performance in years.
  18. The unknown cast is aces, and Moshe inscribes his loquacious film in the Western tradition without overdoing the references to the classics.
  19. A gossamer debut feature that compensates for its lo-fi look with glimpses of profound humanism.
  20. A sporadically engaging martial-arts extravaganza that looks even better compared with its predecessor, last year’s borderline-insufferable “Tai Chi Zero.”
  21. An impressively crafted drama laced with darkly comic humor.
  22. While some of the sting goes out of the movie’s hitherto well-executed crime-thriller mechanics, the resolution and aftermath of the hostage crisis still pack a huge emotional wallop.
  23. Sentencing a sad-looking John Cusack and a hard-working Malin Akerman to roughly 90 minutes of solitary confinement in a poorly lit underground bunker, this glum, juiceless spy thriller is a by-the-numbers affair indeed, unlikely to find an audience on any frequency.
  24. Many of the actors give performances in line with their low profile here.
  25. Although the pacing is more laidback than in “Au revoir Taipei,” the humor more rooted in believable (if bizarre) real-life situations than in slapstick shenanigans, the comic timing remains spot-on and the jokes fetchingly offbeat in an utterly Taiwanese way.
  26. [Mock] has made a movie that vitally captures an extraordinary character in extraordinary circumstances.
  27. Mira Nair’s latest immigrant saga saddles itself with a laborious narrative structure and half-baked thriller elements in a misguided attempt to open up what should be an intimate, introspective story.
  28. This clever, involving spy drama builds to a terrific level of intrigue before losing some steam in its second half.
  29. The film isn’t so much funny as it is merely amusing — a laundry list of inappropriate and potentially embarrassing moments that strive mightily, but never quite manage to land the laugh.

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