Variety's Scores

For 17,794 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:
17794 movie reviews
  1. He's a nondescript protagonist, his benefactors, and he's never truly in need; as is made clear at the start, he has a comfortable life to return to whenever he chooses. So the picture becomes simply the moderately diverting record of an offbeat vacation.
  2. Roach, who also counts such lowbrow laffers as "Austin Powers" and "Meet the Fockers" on his resume, manages to keep things broad without sacrificing smarts.
  3. The same winning balance of seriousness and humor that made "Persepolis" such a hit works equally well in Chicken With Plums.
  4. Few movies so taken with death have felt so rudely alive as ParaNorman, the latest handcrafted marvel from the stop-motion artists at Laika ("Coraline").
  5. Much of this makes little sense, but it's hard to care.
  6. A riveting tale of a onetime vivacious personality, described by those who knew her as "stunning," "lovely," and "very well liked," but who nevertheless died alone, friendless and seemingly missed by nobody.
  7. First-time writer-director Aurora Guerrero beautifully captures the fluctuating dynamics of friendship between 15-year-old girls in Mosquita y Mari.
  8. Yet another attempt to mix raunchy excess and romantic-comedy sweetness in an anything-goes raucous farce, The Babymakers offers a few big laughs between ho-hum stretches of frenetic vamping.
  9. Collectivist in spirit, this mostly entertaining film lacks an official host or voiceover narration, which first works swimmingly but eventually becomes too diffuse.
    • 54 Metascore
    • 60 Critic Score
    Formulaic in adhering to the sitcom-style tone of the first two films, picture finds the chronically underappreciated Greg facing a summer break replete with parental expectations and anxiety over his first crush.
  10. Crazy new gadgets, vigorous action sequences and a thorough production-design makeover aren't enough to keep Total Recall from feeling like a near-total redundancy.
  11. Helmer-writer Padraig Reynolds creates a dizzying pastiche of genre conventions, and he has a terrific actress in Anessa Ramsey, who's that rare thing in horror, a thoroughly convincing victim.
  12. Hope Springs is an altogether pleasant surprise: a mainstream dramedy that frankly and intelligently addresses the challenges facing a couple after 31 years of marriage.
  13. Celeste & Jesse Forever earns points for bucking formula, but its fusion of snark and sincerity has a calculated slickness that rings increasingly hollow.
  14. Grief doesn't rate high among emotional states suited to high-octane presentation; hence the disconnect between excessive style and sober content in Burning Man, a feature-length montage posing as a serious drama about loss and anger.
  15. This monotonously deadpan coming-of-age comedy has little to recommend it beyond some beautiful widescreen cinematography and the momentary kick of seeing David Duchovny looking like a stoned Jesus as Goat Man.
  16. What's onscreen feels as half-assed and juvenile as it was probably always envisioned to be, suggesting an umpteenth retelling of "Invasion of the Body Snatchers" by way of "The Hangover," or perhaps a far less inspired version of "Attack the Block" transplanted to small-town Ohio.
  17. A David-and Goliath story that delves into corporate scare tactics, legal effrontery, brand protection, media manipulation, online propagandizing and craven behavior.
  18. Step Up Revolution, the fourth entry in the venerable dance franchise, is a narrative failure but a triumph of sheer spectacle.
  19. The film is a good start, but such an important artist deserves a more rigorous portrait.
  20. Sacrifice is practically a chamber piece, and duly draws its strength from its performances, especially those of Ge and Wang.
  21. The French are smelly, vulgar, racist and oversexed, or so it would seem based on 2 Days in New York, a scattershot culture-clash comedy that goes down like yesterday's foie gras.
  22. For those expecting Mookie's mid-career encore to signify a return to Spike Lee's roots, Red Hook Summer instead surprises -- and to some extent delights -- as yet another radically unique entry in the director's iconoclastic oeuvre.
  23. 360
    With a multilingual cast of mostly unfamiliar faces, plus a few stars, 360 feels too abstract, orchestrating break-ups and hook-ups in a passionless vacuum.
  24. The jazz-scored picture relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings.
  25. The family that slays together pays together in Killer Joe, a nasty little Texas noir that transfers Tracy Letts' 1993 play from page to screen with generally gripping results before devolving into an over-the-top splatterfest.
  26. Much like the band's self-conscious synth-pop itself, "Shut Up" is initially satiric but ultimately disarming in its emotional resonance.
  27. Tension flows organically from every phase of this dangerous endeavor, making for a highly entertaining outing for operaphiles and operaphobes alike.
  28. The humanist spirit of Gallic novelist-director Marcel Pagnol is alive and well in the old-fashionedly sincere The Well-Digger's Daughter, a competent remake of Pagnol's eponymous 1940 melodrama about a working-class girl impregnated by a young pilot who's sent off to war.
  29. While The Dark Knight Rises raises the dramatic stakes considerably, at least in terms of its potential body count, it doesn't have its predecessor's breathless sense of menace or its demonic showmanship, and with the exception of one audacious sleight-of-hand twist, the story can at times seem more complicated than intricate.

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