Variety's Scores

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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
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  1. Nightbitch
    Sinking her teeth into Mother the way Mother herself might a bloody steak, Adams courageously embodies Mother’s exasperation, finding the comedy in every setback.
  2. Kill
    The movie hardly ever turns its gaze out the windows, but the scenery never gets old, since Bhat has a head for creative close-quarters combat.
  3. Bye Bye Tiberias
    If there is any one takeaway from the film, it’s the importance of family attachments and the succor they provide.
  4. Veni Vidi Vici
    Capitalism, as depicted here, is inherently sociopathic. As the murders continue to claim ordinary middle-class folks, audiences can’t help but find themselves on edge, bracing for the sniper’s next attack.
  5. Gaucho Gaucho
    Some of these vignettes are more arresting than others; all are pleasurable in the patchwork impression they form of a lively and eccentric way of life. Anthropological excavation isn’t the objective here; Dweck and Kershaw are more than happy to buy into the community’s self-mythologizing, to absorb the hand-me-down stories and macho iconography that keep the romance of the gaucho alive.
  6. Ponyboi
    Sparkling like a rhinestone in the rough, Ponyboi stands out amid a lineup of cartoon gangsters, tough-guy dealers and gum-smacking prostitutes — lowlifes recycled from a hundred late-night cable movies with superficially similar plots.
  7. In a Violent Nature
    Its stripped-down approach to a familiar gist has a distinctiveness that is impressive, and is sure to please fans who are always up for a new slasher film — but wish most of them weren’t so interchangeable.
  8. Dìdi
    Wang does a nice job of balancing his naturally comedic sensibility with serious insights into how he triangulated his own identity at Wang-Wang’s age.
  9. Winner
    It’s not a typical whistleblower movie, like “The Insider” or “Official Secrets” (both excellent), but more of a prickly character portrait, imbued with humor and a headstrong sense of defiance (courtesy of co-writer Kerry Howley, channeling Winner’s voice).
  10. Out of My Mind
    Out of My Mind is a worthy and unique coming-of-age tale. Despite the speedbumps encountered, the filmmakers drive home the poignant message that a person’s disability shouldn’t impede their growth and independence.
  11. Eno
    The appeal of “Eno” — like the appeal of Brian Eno himself — is that the film conjures a wholehearted and accessible experience within an experimental veneer.
  12. A New Kind of Wilderness
    A New Kind of Wilderness still honors the ideals of its late subject, particularly in the camera crew’s organic, pine-fresh appreciation of the surrounding environment. But its tender observation of an evolving family shows there’s value in society too, in living across a wider corner of the world.
  13. Rob Peace
    A sense of tangible intellect looms just beneath its surface — not only Rob’s supposed genius, but the movie’s own identity as political cinema. But it never quite unearths this, even though “Rob Peace” establishes Ejiofor as a director with a knack for dramatic storytelling, in a way his previous film could not.
  14. Immaculate
    No small part of the satisfaction of Immaculate comes from witnessing someone find faith in herself.
  15. Ricky Stanicky
    Cena makes it impossible to imagine another person in the part. He’s game to go big, which fits Rod’s frustrated-actor persona, while also having the capacity to play vulnerable and sincere.
  16. Longlegs
    How many horror movies can claim to hijack your subconscious? With Longlegs, writer-director Osgood Perkins (“The Blackcoat’s Daughter”) delivers the kind of payoff we sought out as kids, daring ourselves to watch films about boogeymen that made us want to sleep with the lights on.
  17. Accidental Texan
    Undemandingly entertaining, director Mark Bristol’s well-crafted indie can be savored as a heaping helping of palate-cleansing sherbet, best enjoyed between viewings of bigger and louder but by no means better movies. And yes, that’s meant as a compliment.
  18. Unfrosted
    While broadly based in reality, the entire movie is a put-on, a wackazoid tall tale, a comedy that uses the breakfast wars as the jumping-off point for a high-camp exercise in nostalgic lunacy.
  19. Thelma the Unicorn
    Thelma the Unicorn avoids being rendered completely unoriginal by its overly familiar premise thanks to consistent splashes of acid humor and a plethora of wacky supporting characters.
  20. Cuckoo
    Part of the massive entertainment value of [Singer's] wild and unwieldy second feature is that it is refreshingly free of any kind of manifesto.
  21. Babes
    With Adlon there to spot them, Glazer and Buteau trust-fall into their respective parts, potentially unlikable qualities and all. At times, the pair get so filthy, you may not believe your ears. But strength, as the saying goes, comes from the mouth of babes.
  22. The Last Stop in Yuma County
    It’s a lean, tight, and stylishly clever B-movie about a bank robbery gone wrong.
  23. Carry-On
    Although Collet-Serra brings creative solutions to each of the action sequences, the project is actually most effective when audiences are honed in on the core characters.
  24. The Piano Lesson
    While most of the cast is the same that appeared on Broadway, the movie is undeniably Deadwyler’s show.
  25. Veselka: The Rainbow on the Corner at the Center of the World
    The film’s attitude seems to be: Come for the pierogis and goulash, stay for the humanitarian valor. Fair enough, but I wish the movie had drawn a deeper connection between the taste of freedom and the taste of Veselka.
    • 44 Metascore
    • 70 Critic Score
    Every Time We Say Goodbye
    Culturally rich story is aided throughout by the pic’s all-Israel shoot, nicely highlighting the different worlds these two lovers come from.
  27. Omen
    At a fleet 91 minutes, Omen could stand a little more character-building. But the larger atmospheric payoff lingers; the film first gets under the skin, then sits in the skeleton like a trapped, restive spirit.
  28. Taking Venice
    Taking Venice is a very good documentary, though with a hint of pearl-clutching. There’s a “We were shocked, shocked…” undercurrent to the whole thing.
  29. Red Island
    Its autobiographical elements are keenly felt, as Campillo grapples intelligently not just with the blind spots of his personal past, but those of his national heritage.
  30. Grand Theft Hamlet
    The infrastructure of the game leaves things wide open for human creativity to take it in directions that couldn’t be predicted and people foster connections without any superficial prejudices getting in the way as Crane and Oosterveen assemble a cast.
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