Variety's Scores

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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:
  1. Positive: 9,166 out of 17839
  2. Mixed: 7,035 out of 17839
  3. Negative: 1,638 out of 17839
17839 movie reviews
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  1. The Backyard
    This underground scene makes other "extreme sports" look as harmless as tiddlywinks.
  2. Laurel Canyon
    The dramatic trajectory is frightfully obvious, the characters tediously one-dimensional, the dialogue banal.
  3. Welcome to Collinwood
    Anthony and Joe Russo place too much faith in the ability of their talented thesps to carry the day over precariously thin material.
  4. Blue Gate Crossing
    High on charm but extremely low on content, Blue Gate Crossing is a half-hour short stretched to feature length.
  5. Blue Crush
    All the trappings of an energetic, extreme-sports adventure, but ends up more of a creaky "Pretty Woman" retread, with the emphasis on self-empowering schmaltz and with the big-wave surfing that gives pic its title seemingly an afterthought.
  6. Beijing Bicycle
    Overplays its slim hand by a good two reels.
  7. Rumble in the Bronx
    Though Chan wins his usual stripes for death-defying... the movie ends on a dramatically unsatisfying note.
  8. Sunlight Jr.
    Incandescent performances by Naomi Watts and Matt Dillon and an unerring grasp of strip-mall-dominated Florida distinguish Sunlight Jr.
    • 61 Metascore
    • 70 Critic Score
    The Sword in the Stone
    It emerges as a tasty confection.
    • 61 Metascore
    • 70 Critic Score
    The Eagle Has Landed
    Most performances [in this adaptation of the Jack Higgins’ novel] are first rate with Sutherland exuding great credibility as the Irishman, and Caine thoroughly convincing as the Nazi commander. Pleasence gives a standout lifelike interpretation of Himmler.
  11. Capitalism: A Love Story
    Whether Capitalism matches "Fahrenheit 9/11" or underperforms like "Sicko" will depend on how much workers of the world are ready to unite behind the message.
  12. Secretariat
    Conventional but rousingly effective picture.
  13. Day Night Day Night
    Context and psychological insight are the major casualties of Day Night Day Night, a dramatically limited but strangely powerful portrait of a young would-be terrorist.
  14. She's So Lovely
    Writer John Cassavetes wants to show that there’s nothing like the purity of first love, but he doesn’t provide his triangle sufficient psychological motivation to ground their otherwise erratic behavior. The script feels incomplete, and is further marred by a missing third act and a lack of discernible point of view.
    • 61 Metascore
    • 70 Critic Score
    Angel Heart
    Even if it may be a specious work at its core, Angel Heart still proves a mightily absorbing mystery, a highly exotic telling of a small-time detective's descent into hell, with Faustian theme, heavy bloodletting and pervasive grimness.
  16. Speer Goes to Hollywood
    A rather pedestrian presentation of a potentially fascinating story, Vanessa Lapa’s Speer Goes to Hollywood expands on a little-known footnote to the Hydra-headed history of the post-war fates of top Nazi lieutenants.
  17. Nymphomaniac: Volume II
    It’s one thing to declare sex a fact of life and insist that audiences confront their unease at seeing it depicted (or, equally constructive, their intense excitation at its mere mention), but quite another to fashion a fictional woman’s life around nothing but sex. As courageously depicted by Gainsbourg, Jo is ultimately a tragic character.
    • 61 Metascore
    • 70 Critic Score
    Topaz
    Topaz tends to move more solidly and less infectiously than many of Alfred Hitchcock's best remembered pix. Yet Hitchcock brings in a full quota of twists and tingling moments.
  19. At Work
    It bristles with testy economic politics, though they largely itch beneath the surface of an unassuming, intimately observed character portrait.
  20. A Taste of Hunger
    The result certainly isn’t fast food, but neither is it fine dining.
  21. Wah-Wah
    Flavorsome performances by a seasoned cast, held in check by Grant's traditional but well-crafted, always cinematic direction.
    • 61 Metascore
    • 80 Critic Score
    Lilies of the Field
    Made on a modest budget and filmed entirely on location in Arizona, Lilies reveals Sidney Poitier as an actor with a sharp sense of humor.
  23. Wall
    Helmer -- an Arab Jew who has lived on both sides of Jerusalem and is comfortable speaking idiomatic Arabic and Hebrew -- is particularly well qualified to tackle her subject.
  24. El Angel
    Ortega shows more interest in the how than the why. He mines the scenes of violence for black comedy, rendering the bloodletting anticlimactic and the victims largely irrelevant, and Ferro’s baby-faced, bright eyed disingenuity suits that agenda perfectly.
  25. Fast & Furious 6
    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.
  26. Lilting
    While the characters’ background details (including their occupations) are kept to a minimum, the emotions the story touches are vivid and accessible.
  27. This Must Be the Place
    Quirky, hilarious and moving, Sorrentino's first English-lingo production is a road trip of stunning scope yet deep intimacy, featuring an aged rock star-turned-Nazi hunter played by Sean Penn at his transformative best.
    • 61 Metascore
    • 70 Critic Score
    You Only Live Twice
    Donald Pleasence makes a suitably menacing German heavy who appears in film’s final scenes.
  29. Muppets Most Wanted
    Muppets Most Wanted looks and sounds eager to please but immediately feels like a more slapdash, aimless affair, trying — and mostly failing — to turn its stalled creativity into some sort of self-referential joke.
  30. Onward
    By the end of Onward, you’ll have chuckled and maybe choked up, and enjoyed a conventional ride.
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