Variety's Scores

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For 17,837 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 17837
  2. Mixed: 7,034 out of 17837
  3. Negative: 1,637 out of 17837
17837 movie reviews
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  1. I Love Boosters
    It’s an incendiary prank of a movie that begs our indulgence at times yet also invites us to get high on what a playful provocation it is.
  2. Midwinter Break
    Midwinter Break does nothing earth-shattering (it remains wee), but the movie touchingly colors in how it might be possible for two people to know each other too well and also not well enough.
  3. Holding Liat
    The camera’s non-interventionist nature becomes vital. The visual approach embodies the Beinin family’s loss of control, and the growing uncertainty around them and what they believe.
  4. A Sad and Beautiful World
    For his evocative and wistful romance to yield its intended effect, writer-director Cyril Aris’ biggest ask of the viewer is to surrender to the serendipitous nature of the couple’s connection — a request that is later supported with a concept that expands the film’s magical realist vein. Contrived by design, the premise eventually earns enough goodwill for one to play along.
  5. Disclosure Day
    Disclosure Day turns out to be a lavishly intense chase thriller with a dollop of deep-think rumination and two characters at its center whose own close encounters have shaped their lives and destinies. Scene for scene, the movie is a vigorous and diverting ride. Yet coming after the mountains of real UAP footage we’ve seen, Disclosure Day never gives you the contact high of awe that “Close Encounters” did.
  6. Peaky Blinders: The Immortal Man
    "The Immortal Man” serves as a handsome reminder of what always felt quite cinematic about the series — both in its beefy-but-pulpy storytelling and its robust, well-patinated production values.
  7. I'm Chevy Chase and You're Not
    If you go into the movie wanting to be shocked and appalled, you won’t be disappointed.
  8. I Want Your Sex
    Hoffman and Wilde’s commitment makes the film feel more important than it is. It’s better to think of this either as pure, irreverent escapism or a guiltless pleasure.
  9. The Death of Robin Hood
    The Death of Robin Hood holds our attention for the sheer severity of its reinvention, the rooted, hessian-rough vividness of its ruined world, and its earnest, complex preoccupation with matters of the soul — a vanishingly rare virtue in the multiplex in general, let alone in the realm of endlessly repurposed IP.
  10. Zi
    If the film weren’t so arresting to look at, it could often be absorbed with eyes closed: If its larger message is elusive, Zi advocates for taking the world in at your own sensory pace.
  11. The Wrecking Crew
    What you see in the key art and the first-look impression you get from the teaser and trailers is a clear and accurate indicator of what you’ll get in the film. And for many action movie fans that’ll do just fine.
  12. I Swear
    Written and directed by Kirk Jones (“Waking Ned Devine”), the film wrestles enthusiastically and mostly successfully with the potential pitfalls of making a funny yet respectful project about a condition that sometimes lends itself to laughter, even as it wreaks havoc with Davidson’s life in serious ways.
  13. Saccharine
    Saccharine proves James’ gifts are better served by more independent means, even if it falls short of the emotional and dramatic heft that gave “Relic” equal genre and arthouse appeal.
  14. The Musical
    Like its eminently problematic anti-hero, The Musical says its piece with conviction to spare, and a welcome streak of cat-among-the-pigeons danger rarely found in contemporary American comedy.
  15. Lady
    If her filmmaking style is relatively straightforward, it’s a rich, raw sense of place that gives this Sundance entry — premiering in world dramatic competition — vitality and danger.
  16. Exit 8
    Like the game, which is popular as kind of a one-off without much replayability, Exit 8 is designed to divert for a short time and does so enjoyably, with Kawamura proving a most judicious assessor of just how little backstory, plot explanation and character development he can get away with and still keep us engaged.
  17. Joe's College Road Trip
    In Joe’s College Road Trip, Tyler Perry doesn’t just let his hair down, he isn’t just having down-and-dirty fun — he’s wildly, deliriously profane. The movie is a rude and rollicking lark, which makes it an anomaly in the Perry canon.
  18. Butterfly
    Striking and often unpredictably moving — before an ungainly third act that frays into a profusion of endings — Søimer Guttormsen’s film places a lot of trust in its leads, erstwhile “Worst Person in the World” co-stars Renate Reinsve and Helene Bjørneby, to sell its wild swerves in mood and perspective. Both are up to the task.
  19. For Worse
    For Worse might be a tiny step among its kind, but it still feels like a leap for its thoughtful auteur, ultimately celebrating new beginnings as an ageless milestone.
  20. Marc by Sofia
    Marc by Sofia isn’t particularly penetrating or eye-opening on Jacobs as an artist, businessman or human being, but it is a pleasant and casually glamorous hang.
  21. The Rise of the Red Hot Chili Peppers: Our Brother, Hillel
    "The Rise of the Red Hot Chili Peppers” is totally worth seeing, but the film feels like an indirect act of contrition, which may be why it turns into an overdone lament.
  22. Kill Me
    There are times when the film can feel weighted down by its clever framework. Externalizing the steps of deeply internal emotional progress Jimmy and Margot make with one another’s help can occasionally seem like a separate pursuit from satisfying genre expectations when it really does appear there’s a killer on the loose. However, the approach proves fresh more often than not.
  23. The Fox
    The issue becomes throwing in a little too much, both for the characters and for writer-director Dario Russo, who may have a few too many good story ideas to fully flesh out. Yet, he delivers a promising and imaginative feature debut.
    • 47 Metascore
    • 70 Critic Score
    Honky Tonk
    The major power in Honky Tonk is in the love scenes between Clark Gable and Lana Turner.
  25. Apex
    Kormákur’s film doesn’t trade in surprises, but offers more than enough heart-in-mouth action spectacle to compensate.
  26. Faces of Death
    Faces of Death is “ambitious” trash, with the courage of its own gaudy thematic grandiloquence.
  27. Magic Hour
    The unexpected formal execution draws the excitement out of what’s mostly a straightforward narrative.
  28. Stop! That! Train!
    More than their civilian counterparts, viewers familiar with “Drag Race,” its superstars and its lore will likely get much out of watching the cast trade on or tweak the personae for which they’re known on stage. But notwithstanding its queer-friendly lexicon (much of which has infiltrated social media anyway), Shankman’s film is an easily accessible, unexpectedly ingratiating experience.
  29. Swapped
    On the story level, Swapped is simple to a fault, yet there’s a surprise enchantment to it — it’s a woodland fairy tale for seven-year-olds, but on that score it’s visually ravishing and actually rather touching.
  30. Office Romance
    It sinks into its star power as one would into a warm bath, and if the appealingly scrappy Goldstein doesn’t match that voltage, that’s largely the point.
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