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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    • 75 Metascore
    • 70 Critic Score
    It's Always Fair Weather
    As well as spoofing television, It's Always Fair Weather also takes on advertising agencies and TV commercials, and what emerges is a delightful musical satire.
  2. Sarah's Oil
    The period detail is impressive, the storytelling is engrossing, and the overall impact is pleasantly enjoyable.
  3. Bulk
    Bulk is a stunt that makes even earlier oddball Wheatley works like “A Field in England” look quite conventional by comparison — but there’s more energy and wit in this hybrid of conspiracy thriller, time-bending sci-fi and goofy genre parody than we’ve seen from the director in a while.
    • 39 Metascore
    • 70 Critic Score
    Hell's Angels
    It’s no sappy, imbecilic tale.
  5. Dead Man's Wire
    There’s no doubt that Dead Man’s Wire holds you. It’s Van Sant’s most vital piece of work for the big screen in some time. The movie plays, and part of it is that it triggers our anti-institutional anger.
  6. John Candy: I Like Me
    Hanks’ doc mostly shows how great it must have been to know John Candy when he was alive, although Conan O’Brien does a nice job of contextualizing how he inspired others. Amid all that adulation, Hanks might have scrapped the title “I Like Me” and called the movie “Everybody Likes Candy” instead.
  7. The Voice of Hind Rajab
    If The Voice of Hind Rajab opens one hitherto blinkered eye, or ear, to the atrocities in Gaza, it will have done its job. But it’s a blunt and discomfiting instrument.
  8. Dust Bunny
    The strength of the performances and the filmmaker’s smart handling of ambiguity (is there or is there not an actual monster at play here?) do enough to keep one engaged.
  9. My Sunshine
    Some films prioritize a strident political cause, others set out to terrify or thrill. This touching and simple story from Japanese filmmaker Hiroshi Okuyama, premiering in Un Certain Regard at Cannes, is a gentler affair, with modest ambitions that it realizes effectively.
    • 72 Metascore
    • 70 Critic Score
    Kid Glove Killer
    Kid Glove Killer is one of those moderately-budgeted programmers that appear at long intervals to rise far above the level intended. Spotlight shines brightly on Van Heflin in the lead. His skillful timing and delivery of lines holds interest in many sequences that might easily have crumbled in less capable hands.
  11. Maddie's Secret
    As wild as things can get (tamer than you might expect), Early keeps the film emotionally grounded. Can Maddie be cured? Maybe not, but her secret’s safe with him.
  12. Calle Málaga
    It’s the most prominent and devoted leading showcase Maura has had in years, and one she carries with her invaluable brand of internally illuminated, can’t-be-taught charisma.
  13. Carolina Caroline
    Adam Carter Rehmeier‘s thriller, like many a good B-movie, adds up to more than the sum of its parts, with star power and star chemistry its major elevating, unquantifiable factors.
  14. Primate
    The movie is funny as only a bloody disgusting formulaic-but-halfway-clever slasher film can be.
  15. Lilith Fair: Building a Mystery - The Untold Story
    Beyond just providing a welcome dip into nostalgia, maybe “Building a Mystery” could go some way toward building interest in a reboot.
  16. The Last One for the Road
    You don’t leave The Last One for the Road with the feeling that you have seen something life-affirmingly original. But there is still a sense of disarming comfort in the film’s down-to-earth demeanor, and Giulio’s rewarding if predictable arc.
  17. One of Those Days When Hemme Dies
    What One of Those Days When Hemme Dies lacks in budgetary means, it often makes up through the sharp intentions of Fıratoğlu, a thoughtful filmmaker we will hear from again on the international festival circuit.
  18. In Waves and War
    The filmmakers’ focus on these three men lends “In Waves and War” an intimate quality, though at times it seems as though they could have expanded their scope without losing sight of them.
  19. Stiller & Meara: Nothing Is Lost
    It turns out to be a very good film — canny and honest and unexpectedly moving. But it’s layered with a thick and sugary frosting of adoration.
  20. Ozzy: No Escape From Now
    If you’re a big Ozzy fan, you probably already love him for being brave enough to go out and meet his public one last time, against what we can now see from this film were nearly all odds. But the greater bravery might have been going on camera repeatedly for this doc, and allowing himself to convey that old age is not for the faint-hearted, even as it renders you fainter of heart.
    • 62 Metascore
    • 70 Critic Score
    Darling
    Christie almost perfectly captures the character of the immoral Diana, and very rarely misses her target.
    • 63 Metascore
    • 70 Critic Score
    Crime in the Streets
    Crime in the Streets, in its jump from a TV origin, sets out to be a gutsy melodrama about slum area delinquents and, within the framework of Reginald Rose's highly contrived story, succeeds in making its shock points under Don Siegel's pat directorial handling.
  23. The Drama
    You’ve got to say this much for Kristoffer Borgli: In The Drama he’s an original, like the bastard stepchild of Dogme 95 and “Wedding Crashers.”
  24. The Plague
    Drawn from experience and benefiting from some standout performances among its well-selected young cast, The Plague has a familiar coming-of-age narrative, but stranger, subtler undercurrents of creeping dismay at the men these boys will become when, at this formative age, cruelty chlorinates the water they swim in.
  25. Paul McCartney: Man on the Run
    Neville’s movie serves as a splendid jukebox, offering rapid-fire clips that bowl you over anew with just how rapidly McCartney’s own synapses were firing on ingenious hit after hit.
  26. Influencers
    The indictment of narcissistic online culture is still little more then an excuse for glam intrigue, and our not-infrequently-lethal anti-heroine’s motivations remain just as cloudy as they were last time. But a good time in enviable vacation spots is guaranteed, with ghoulish demises for many principal figures here served up like caviar on sashimi.
    • 57 Metascore
    • 70 Critic Score
    A Woman's Face
    There's a rather intriguing dramatic quality to this American version of an original Swedish production (from a French play, Francis de Croisset's Il etait une fois) which had Ingrid Bergman as star. In a story of a woman's handicap and final regeneration.
  28. Belén
    Belén might never regain the vivid rage and terror of its opening minutes, but Fonzi’s film ends up carrying viewers on its own wave of pride and upright conviction, ultimately delivering the hope its promises
  29. The Best You Can
    An optimistic film that feels truthful about aging, even if it doesn’t say anything we haven’t heard before.
  30. How to Make a Killing
    It’s a light-fingered drop-dead screw-loose noir — a quasi-satirical mash-up of greed and desperation and Wall Street chicanery and a dash of romance, with Glen Powell, dishy in Brioni suits, turning his pin-eyed handsomeness into a mask of yuppie treachery.
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