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. Moving, engagingly low-key curio.
  2. The end of the world can't come fast enough in Seeking a Friend for the End of the World, a disastrously dull take on the disaster-movie formula.
  3. Gets one's attention but doesn't keep it, due to ill-cued flashbacks, groan-inducing dialogue and wooden performances.
  4. This pleasantly diverting, none-too-strenuous arthouse excursion feels like a throwback to Allen's short-story anthologies, with the added pleasure of seeing a game cast play along.
  5. If they never fully sell the situation, the actors nonetheless deliver strong, emotionally accessible work.
  6. An aptly infuriating expose of sexual abuse within the U.S. military, Kirby Dick's documentary The Invisible War calls high-ranking officials to account for turning a blind eye to a violent epidemic.
  7. Director Baget clearly strives to replicate the ersatz Dixie flavors of "O Brother, Where Art Thou?" right down to the vintage '30s music in a film set in the 1970s, but nailing the Coen brothers' precisely calibrated style is far harder than it looks.
  8. The rush of watching images made in such rare locales as Andorra and Sao Tome quickly wears thin as the montage whips through considerably meaty topics (water issues, climate change, immigration, religious faith) like an impatient Web surfer.
  9. Though generally engrossing, Ikland's multiscreen displays and cross-cultural theatrical experiments prove more distracting than effective.
  10. Offers diverting date-night fare for open-minded heterosexual couples and swingers, though its superiority (artistic or otherwise) to actual porn is debatable.
  11. All in all, it could have been worse. Puerile, crotch-fixated and very occasionally, inanely funny, Adam Sandler's raunchiest star vehicle in years has a small saving grace in Andy Samberg's performance.
  12. Though Demy's approach breaks no new ground, directorially speaking, Martin's personal journey finds a fresh angle on a universal piece of wisdom. Every mother's son believes he's the star of his own life; Americano captures that humbling moment where one realizes perhaps he has only been a bit player in his parents' story, not the star, as initially believed.
  13. An intelligent overview that makes a radical artist's work comprehensible to audiences with no previous awareness of her or her chosen path.
  14. Brave offers a tougher, more self-reliant heroine for an era in which princes aren't so charming, set in a sumptuously detailed Scottish environment where her spirit blazes bright as her fiery red hair.
  15. Effortlessly entertaining.
  16. Results are offbeat and amusing, but also a bit thin as the whole essentially amounts to one long shaggy-dog joke.
  17. Absent the infectious live-audience energy of Chris D'Arienzo's legit hit, this affectionate glam-rock-a-thon reps a visually bland staging of frankly insipid material, never tapping into the raucous, go-for-broke energy that would spin the show's cliches into gold, let alone platinum.
  18. A picture so thoroughly generic as to suggest a contraption assembled from spare parts with the aid of a how-to manual.
  19. Ensemble is sharp, although Adams and Dave Foley (as an obnoxious gallery owner) make more caricatured impressions.
  20. OC87 serves both its subject and its viewers well by chronicling a process that is actually insightful, entertaining and apparently successful.
  21. Result is far less abrasive than some of its predecessors, but for that very reason seems unlikely to generate the attention needed to meet Solondz's already modest commercial standards.
  22. A wise and impeccably controlled drama that finds Russian helmer Andrei Zvyagintsev in outstanding form.
  23. An engrossing and satisfying picture, one that can be enjoyed even by people who have never before heard of its subject.
  24. Rohrwacher's picture offers a Dardennes-esque look at a working-class teen's growing pains in a backwater parish in southern Italy. Minor tonal inconsistencies are overcome by this intimate tale's naturalistic thesping and loose lensing style.
  25. Develops into an endearingly scrappy and romantic romp that serves up some nice soul-searching moments alongside a steady stream of laughs.
  26. May not be great cinema, but its broad, crowdpleasing qualities should make it a welcome night out for femmes.
  27. It's one girl against the world in Lola Versus, a snappy yet sincere romantic comedy that begins where others end, with the proposal and wedding plans pointing toward happily ever after.
  28. "I had no conception of the depths of your emptiness!" a character shrieks in Bel Ami, and her words take on an unintended resonance as addressed to Robert Pattinson in the lead role.
  29. Covering a lot of ground in colorful, pacey fashion, the documentary is nonetheless somewhat compromised itself by co-director Ami Horowitz's insistence on playing the Michael Moore/Morgan Spurlock role of onscreen provocateur.
  30. Despite enough good intentions to pave a four-lane highway, the ardently sincere but dramatically unfocused For Greater Glory plays like a multipart miniseries that has been hacked down to feature length.

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