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. The First Beautiful Thing
    Occasionally affecting but unremarkable, the picture's emotional moments are designed to pluck local heartstrings.
  2. Joshy
    Joshy offers a strange mix of elements that never quite add up.
  3. There's Something in the Water
    If There’s Something in the Water isn’t the most sophisticated treatment of the issues it scrutinizes, it nonetheless makes a very convincing case for protections against environmental harm being applied equally to all members of society.
    • 62 Metascore
    • 70 Critic Score
    Love at First Bite
    Director Stan Dragoti keeps the chuckles coming, spaced by a few good guffaws.
  5. Lan Yu
    Might spark controversy in mainland China, not only because it deals with a homosexual relationship between a member of the Chinese establishment and a peasant, but also because it touches on events such as the 1989 massacre in Beijing's Tiananmen Square. However, pic is unlikely to raise eyebrows anywhere else.
  6. Ramen Shop
    Bringing two of Singapore and Japan’s most popular dishes (bak kut teh and ramen) together in a film about cultural and culinary fusion, Singaporean auteur Eric Khoo’s “Ramen Teh” is cinematically more comfort food than haute cuisine.
  7. The King
    Too many movies set in this period end up as action films in medieval drag. The excitement of “The King” is that Michôd lays out the consequences of combat with gruesome precision, demythologizing the battle.
  8. Sick
    It’s best to let audiences discover the reaper’s motives in context; suffice to say that “Sick” not only factors in our still-evolving COVID-era rules but also serves as an amusing time capsule for the collective fear that has seized us these past three years.
  9. Abigail
    Abigail was directed by Matt Bettinelli-Olpin and Tyler Gillett, who made those last two “Scream” films, and though I was impressed, to a degree, by what they brought off there, this movie feels like a step backward into overwrought generic schlock.
  10. Destroyer
    Kidman has always been a chameleon, but in this case, she doesn’t merely change her color (or don a fake nose, à la “The Hours”); she disappears into an entirely new skin, rearranging her insides to fit the character’s tough hide.
  11. My Big Fat Greek Wedding
    Suffers in ways typical to such adaptations -- what was fresh and flavorful in anecdotal description becomes more familiar and sitcom broad in literal depiction.
  12. Mumford
    Kasdan's direction here is even less energized than his writing.
  13. Kwik Stop
    A screwball road movie set in a middle-of-nowhere town, Kwik Stop suggests "It Happened One Night" as reimagined by David Lynch or Hal Hartley.
  14. A Few Good Men
    Expert story construction and compelling thesping and direction make all the narrative elements pay off as if calculated by a precision instrument in which all the parts are working perfectly.
  15. The Mudge Boy
    Sensitive direction and a touching performance from Emile Hirsch in the title role help counter some dramatic naivete and awkward, at times unintentional, humor in The Mudge Boy.
  16. Unbreakable
    Possesses sufficient intrigue to hook audiences and keep them on board much of the way.
  17. A Silent Love
    Largely plays down the ethnic stereotyping to deliver a carefully observed, fundamentally human roundelay about the wonders and horrors of looking for someone to love.
  18. Ararat
    Egoyan's pedantic, lecturing approach makes the film a bit of a slog, although the basic material has an intrinsic interest that makes one at least want to know more about the historical events.
  19. Sleight
    Perhaps Dillard is too young or green to escape the recycled clichés that constitute the bulk of his script (co-written with Alex Theurer), and yet, charitably speaking, Sleight shows potential.
  20. Kingdom
    A dose of 21st century attitude mixes nicely with other winning ingredients in Kingdom, a thoroughly entertaining adaptation of Yasuhisa Hara’s hugely popular manga set in China, 245 B.C.
  21. The Life Aquatic with Steve Zissou
    The effect is often soporific.
  22. I Am a Sex Addict
    Hits its stride from the opening scenes and continues hilariously for a while, before declining into more of same. Its undeniable appeal lies in shocking frankness shackled to irony, a combo that should attract indie lovers with psychoanalytic leanings and droll senses of humor.
  23. Scream 2
    Visceral, witty and appropriately redundant, the sequel has a winning commercial recipe that's certain to cook up excellent returns in all areas.
  24. The Ice Harvest
    Fine thesping in the service of characters as meaty as they are immoral makes this material a treat for grown up audiences with an ear for sardonic dialogue.
  25. On Chesil Beach
    It’s a lyrical and rapturous film — a repressed passion play, funny, delicate and heartbreaking.
  26. A Year Without Love
    An Argentine writer dying of AIDS searches for a medical cure and some human warmth in the hospitals and S&M clubs of Buenos Aires in dignified, thoughtful drama A Year Without Love.
  27. Longing
    Big emotional themes come hidden in a deceptively small package in Longing, a mightily impressive feature debut by German writer-director Valeska Grisebach.
  28. All the Light in the Sky
    [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.
    • 62 Metascore
    • 50 Critic Score
    Hang 'Em High
    Hang 'em High comes across as a poor-made imitation of a poor Italian-made imitation of an American western.
    • 62 Metascore
    • 60 Critic Score
    The Front Page
    The Front Page, with a featured spot by Carol Burnett, sure looks good on paper. But that's about the only place it looks good. The production has the slick, machine-tooled look of certain assembly line automobiles that never quite seem to work smoothly.
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