Variety's Scores

For 17,839 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:
17839 movie reviews
  1. Lacks the special creative spark needed to lift it to an uncommon imaginative level.
  2. Tureaud and Salzberg achieve their potent impact through the straightforward (but clearly admiring) observation of men who band together in battle and, in the film’s emotionally stirring final scenes, mourn their fallen comrades.
  3. As Red Knot (very) slowly unwinds, Thirlby conveys an impressive range of emotions through the eloquence of her facial expressions and body language. Like Kartheiser, however, she labors under the burden of playing a role that is more a vague concept than a fully developed character.
    • 61 Metascore
    • 60 Critic Score
    If nothing else, Project X is the ultimate film for monkey lovers. Some quite endearing chimpanzees share center stage with Matthew Broderick for nearly two hours here, and while they, and he, are engaging enough to watch, picture lets its manipulative strings show too clearly.
  4. A supremely elegant, meditative thriller.
  5. Leo Heiblum's pulsating music and Samuel Larson's dense, fascinating sound editing rewardingly compliment Rulfo's electrifying visuals.
  6. The film successfully mixes together a lot of things, from the waterfront tourist-town setting of “Jaws” to a general teen fantasy-adventure feel that tempers (without weakening) horror content variably redolent of “It,” “Fright Night” and myriad other predecessors. If originality isn’t a strong suit here, the film’s conviction and polish make that a minor sin.
  7. Has moments of power and imagination, but the overworked style and heavy socially conscious bent exude an off-putting sense of self-importance, making for a picture that's more of a chore than a pleasure to sit through.
  8. Full of delightful moments that throw into high relief the actors' craft.
  9. Lively and quite funny without being obnoxious, this follow-up smoothly mixes the original's New York Zoo escapees with a number of engaging new characters.
    • 61 Metascore
    • 70 Critic Score
    Director James Bridges has ably captured the atmosphere of one of the most famous chip-kicker hangouts of all: Gilley’s Club on the outskirts of Houston.
  10. It’s calculated and precise and meticulously constructed in a way that will be of considerable interest to audiences who appreciate stories that unsettle, and those who recognize the precision of Sisto’s approach.
  11. Lovely, elegant, and curiously opaque ... The film’s many ballet scenes are stunning, to say the least.
  12. The movie, though it pretends to reveal how power works, is ultimately content to remain on the outside, sticking its finger in the eye of power.
  13. The constant juxtaposition of scenes showing the dark and light aspects of the characters endows the pic with a juicy moral complexity that will stimulate post-screening debates.
  14. Hulsing’s illustrations suggest a depth to pirate Mohamed Nura that remains hidden in the flesh.
    • 61 Metascore
    • 50 Critic Score
    This is standard stuff and hardly worth Spacek’s talents.
  15. The heist is fun and convincing without being dazzling, and some of the most amusing stuff in the film is just character comedy.
  16. For those eager to tease out what Leigh’s conceptual exercise is about, the key no doubt lies in Lucy’s relation to her own mortality, with each descent into sleep resembling a death of sorts.
    • 61 Metascore
    • 40 Critic Score
    Paucity of invention here lays bare the total absence of plot or involving situations.
  17. Despite an eager-to-please ending that tries too hard to redeem the elderly Frays, Bialik’s movie still offers up hope, humor and above all, keen observations on grief in the wake of those who’ve damaged us in ways both tangible and veiled.
  18. Aiming for an Alexander Payne-style synthesis of wry comedy and unflinching character study, pic has been made with the utmost sincerity, but the frankly lugubrious material and barely compensating spasms of humor are all but impossible to warm to.
  19. Hill wants to “do justice” to each of these people, but the result is that Dead for a Dollar doesn’t have a dramatic core. It has actors we like to watch, doing what they do well (like Waltz playing a civilized badass), but it isn’t structured so that any of their fates gets a rise out of us.
  20. Though Respect can feel a little soft in the drama department, it delivers the added pleasure of hearing Hudson re-create Franklin’s key songs, from the early jazz standards she covered for Columbia to her reinvention of the Otis Redding single that lends the film its name.
    • 61 Metascore
    • 30 Critic Score
    Jim Abrahams tries to tap the zany Airplane! vein with this Top Gun spoof but bats far too low a percentage with the usual rapid-fire assault of numbingly stupid gags.
  21. Shepard delivers in spades, his character weary but just crackpot enough to survive.
  22. It’s the kind of wickedly delicious comedy one can savor without adding the proviso of guilty pleasure.
  23. Brandishes physical verisimilitude and intelligent seriousness but proves unable to really get inside its chameleon-like central character.
  24. This vulgar romp is a generally harmless, heartwarming affair, a cinematic Christmas cookie almost sweet and flaky enough to cover the fact that it's laced with hash, cocaine and assorted bodily fluids, blood included.
    • 61 Metascore
    • 50 Critic Score
    Long on jabber but short on yocks.

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