Variety's Scores

Select another publication »
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
view
per page
  1. PAW Patrol: The Mighty Movie
    While not as subversive as its predecessor, it delivers on the promise of a smart and salient sequel with bolder action, bigger stakes, and deeper resonance for all ages.
  2. Hell of a Summer
    The movie’s hella derivative, but still quite entertaining, with an appealing cast and memorable characters.
  3. Widow Clicquot
    Widow Clicquot certainly makes a virtue of its milieu and rolling landscape, richly shot throughout in dusky earth tones, and more substantively, of the rather romantic lore surrounding the widow in question.
  4. The Twits
    There’s humor in every detail, much of it skewing to the sordid, if not downright scatological, end of the spectrum, from exploding buttocks to anthropomorphic hairballs.
  5. The Toxic Avenger
    This is an inside joke of a film, but it’s also one that wants you to be in on it.
  6. Mean Girls
    You can rest assured that Mean Girls, the movie musical, sticks close to the spirit and to the letter of the movie that updated and mythologized the culture of gossip and backstabbing for a new generation. The new movie nudges the material into our own era in a handful of ways.
  7. Mountains
    [Mountains] carries an undeniable veracity and compassion. Its narrative proves less insightful, however: too wary to crack into its protagonist’s troubled psyche, softening the film’s worthwhile political anxieties into sympathetic messaging that seems ho-hum and predetermined.
  8. The Human Surge 3
    The Human Surge 3 doesn’t have defined characters or even very coherent conversations, but its swirling of reality conjures an absorbing dreamscape.
  9. Crumb Catcher
    If you can withstand spending nearly two hours in the company of these grating, argumentative characters, there are rewards to be had in a skillfully wrought, twisty suspense tale.
  10. Queen of the Deuce
    Psychotronic cinema fans may wish Queen of the Deuce spent more time on her celluloid stomping ground, and a bit less on family ties. Still, she did have a fascinating backstory, and surviving relatives’ (as well as some colleagues’) reminiscences are colorful.
  11. Anyone But You
    Anyone But You is a rom-com for the age of antipathy. It is, in many ways, as prefab as a lot of the rom-coms of the ’90s and aughts, but there’s something zesty and bracing about how it channels the anti-romanticism of the Tinder-meets-MeToo generation.
  12. The Convert
    There’s just enough of an interesting theme and strong production value (it’s impossible not to succumb to the breathtakingly imposing landscapes) to earn The Convert some grace.
  13. Un Amor
    Making no cozy compromises in its portrayal of a young woman socially and sexually exploited by rural patriarchy — while still foregrounding the consuming strength and autonomy of her desire — it’s a tricky balancing act that mostly works, thanks also to a crackling lead performance by Laia Costa.
  14. Silent Night
    Silly as it might be, Silent Night gives audiences reason to get excited about the Hong Kong innovator once again, ranking as one of the few bloody Christmas counterprogrammers since “Die Hard” that feels worthy of repeat viewing down the road.
  15. Reality Winner
    It’s an involving, empathetic if one-sided portrait.
  16. The Boys in the Boat
    The Boys in the Boat is a gentleman’s sports movie, with Clooney working hard to make one “like they used to.” He brings it off, even if there’s a lingering quaintness to it all.
  17. Elio
    Elio is right at home in the Pixar catalog, but lacks those undeniable signs of intelligent life (wit, surprise and the capacity to expand the medium) that set the studio’s best work apart.
  18. Subject
    It’s easy to form an opinion about the subject of a great many docs, but unsettling to realize how little we know about how they were treated.
  19. Terrifier 3
    Thornton gives a hell of a performance, like Marcel Marceau inhabited by the fiendish spirit of Charles Manson, with a touch of Divine. In his silent-clown way, he imitates ordinary human emotion — the grins and wide-eyed surprise, the innocent moués, the cartoon-sad frowns — with a stylized frivolity.
  20. Showdown at the Grand
    While seldom going for big laughs, the film never takes itself too seriously, allowing its story to occupy the realm of cineaste fantasy.
  21. Leo
    Kanagaraj hails from the Michael Bay school of excess, using dramatic camera moves (like the oft-repeated trick where he pushes in on a character’s back as that person turns to glower toward the audience) and clever cutting to give the entire feature the energy typically reserved for a 2½-minute trailer.
  22. The Three Musketeers - Part 2: Milady
    For readers of Alexandre Dumas’ novel, extravagant French adaptation “The Three Musketeers – Part II: Milady” packs its share of surprises: killing off important characters, sparing others and reimagining allegiances that have stood for nearly two centuries.
  23. I Saw the TV Glow
    This character-centered setup is where I Saw the TV Glow is most affecting, grounded by the tense, tacit bond between two highly guarded people — and given an electric jolt by Lundy-Paine’s fragile, volatile performance as someone certain there’s no accepting place for them outside the rectangular confines of the TV set. But
  24. Blitz
    McQueen, who wrote and directed Blitz, has an effortless technique that whisks you along. Yet I can’t say that Blitz ever enters terrain that’s morally fascinating or dramatically complex.
  25. MaXXXine
    Ti West is a good filmmaker, but it may be time for him to stop reconfiguring trash. He needs to try embedding A ideas in an A-movie.
  26. Rebel Ridge
    Ultimately muscular and effective if predictable, Saulnier’s latest reaffirms his bona fides as a deliverer of sturdy, tightly-controlled thrills.
  27. Filmlovers!
    Not a major work but a bright, pleasurable one, with its director on more limber form than in his recent narrative features “Deception” and “Brother and Sister,” “Filmlovers!” is formed of two halves, nimbly interleaved by editor Laurence Briaud.
  28. Beetlejuice Beetlejuice
    The movie is just a lightweight riff on “Beetlejuice” — a piece of fan service, really. It doesn’t give you the full monster-kitsch jolt that the original film had. Yet there’s good fan service and bad, and as stilted and gimcracky as it can sometimes be, I had a pretty good time at Beetlejuice Beetlejuice.
  29. Salaar: Part 1 – Ceasefire
    At 174 minutes long, with nested flashbacks overflowing with exposition, the movie has lengthy stretches that can feel like a chore. However, each extraneous segment eventually converges in some of the most exhilarating and cathartic on-screen violence Indian cinema has to offer.
  30. Fitting In
    While imperfect, Bloody Hell does entertainingly offer food for thought via an important overall point made in non-preachy form: Nature indeed does have room for variation in gender and sexual norms, no matter how loudly political or religious conservatives these days protest otherwise.
Page:

Top Trailers

See all »
See all trailers »