Variety's Scores

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:
17839 movie reviews
    • 58 Metascore
    • 60 Critic Score
    Picture successfully elaborates on the sorts of color pieces that traditionally precede the race on television.
  1. Here, nothing stands out: The best episodes are merely good enough, and the worst just tiresome.
  2. The movie is funny as only a bloody disgusting formulaic-but-halfway-clever slasher film can be.
  3. Like one of those kitchen machines that can turn nearly any ingredient into ice cream, Lasse Hallstrom has sweetened the satire right out of Paul Torday's side-splitting political sendup Salmon Fishing in the Yemen.
  4. It’s the trench imagery itself that’s the primary attraction here, and it proves more than worth the wait.
    • 58 Metascore
    • 70 Critic Score
    As Chaney, James Cagney has immersed himself so completely in the role that it is difficult to spot any Cagney mannerisms. Jane Greer, as his second wife, is particularly appealing in her devotion to her ‘difficult’ spouse.
    • 58 Metascore
    • 60 Critic Score
    Viva...is faithful to those cult-adored obscurities in nearly every detail, including their soporific pace. Here, however, sly in-jokes come often enough to make said pacing funny in itself. Performances are slightly stilted or over-the-top in ways true to the original genre.
    • 58 Metascore
    • 80 Critic Score
    Albert Finney's remarkable performance in the title role; executive producer Leslie Bricusse's fluid adaptation of the Charles Dickens classic, A Christmas Carol, plus his unobtrusive complementary music and lyrics; and Ronald Neame's delicately controlled direction which conveys, but does not force, all the inherent warmth, humor and sentimentality.
  5. Russian-made pic displays pro technique and visual imagination on a par with, if not better than, Hollywood frighteners, but with a distinctive Slavic accent.
  6. “Ready or Not 2” delivers exactly what it promises: a garishly booby-trapped, winkingly clever-dumb good time. If that’s your idea of a good time.
  7. Jean Dujardin pulls off a charming, Peter Sellers-esque performance as he bumbles his way through retro cloak-and-dagger intrigue, displaying his character's uncanny ability to insult anyone -- and, especially in this episode, women and Jews -- who's not 100% Gallic, male and a diehard Charles de Gaulle fanatic.
  8. In Novocaine, it’s the romance that keeps us going, more than whatever sadistic delight the co-directors take in poking Nathan full of holes, treating him like some kind of Looney Tunes character.
  9. Covering their lives with intimate access from before boot camp to the difficult return home, Heather Courtney's documentary packs a savage but understated punch.
  10. Luxuriously conversational in structure, it would make an outstanding stage play, and the two stars play it with chamber-piece rigor.
  11. Not-quite-horror despite its macabre theme and mood, this sophomore directorial feature for Ben Parker is a handsomely produced period thriller that delivers in terms of action and atmospherics, even if his somewhat convoluted story doesn’t maximally pay off.
  12. Though not a documentary, this gorgeous French family saga benefits enormously from Klapisch’s natural curiosity, informed by research (he participated in a harvest in order to observe its nuances) and elevated by his insistence that they film over the course of a full year, so as to capture the impact of the seasons on both viticulture and its human stewards.
  13. Thanked and vilified from coast to coast, Carter remains steadfast in his belief that Israel's policies in the Occupied Territories are unjust and counterproductive.
  14. The film is acted with great flair and emotional precision, and it’s been staged by Taymor with vividly detailed historical flavor, yet it tells Steinem’s story in a way that’s more wide than deep.
  15. In tapping Satrapi to interpret this project, the producers have done about as well as one could expect with such material. Still, a bit more consistency in style would have gone a long way.
  16. A satisfying wartime espionage drama focused on little-noted intersections between Arabic emigres and the French Resistance.
    • 58 Metascore
    • 60 Critic Score
    The mix of earthy symbolism, offbeat eroticism, the picaresque and the rough-and-tumble social, rather unpolitical satire now seems poured from a bottle that has been left uncapped overnight.
    • 58 Metascore
    • 60 Critic Score
    And Justice for All is a film that attempts to alternate between comedy and drama, handling neither one incompetently, but also not excelling at either task.
  17. Light, thoroughly entertaining comedy;
    • 58 Metascore
    • 70 Critic Score
    Pic, which may be too cutesy for some tastes, is lacking in substance in some areas but it has a wonderfully nuanced, constantly surprising perf by Mary-Louise Parker, who elevates the intermittently charming insider spoof.
    • 58 Metascore
    • 80 Critic Score
    A tender, achingly poignant portrait of the Austrian actress Maria Schell, My Sister Maria is a valentine from her younger brother Maximilian.
  18. Surprisingly, the large format and three-dimensional technology do little to heighten the excitement of the races. In the end, docu is less a film with real behind-the-scenes insight and more a serviceable, if routine, promo package for the (very) bigscreen.
  19. It’s like watching the lamest Indiana Jones sequel ever imagined, minus Indiana Jones.
  20. It will be up to viewers to decide whether God Help the Girl is ingratiatingly naive art, gratingly inept art, or a bit of both.
  21. A gritty and gratifying cheap thrill, Rob Cohen's high-octane hot-car meller is a true rarity these days, a really good exploitationer, the sort of thing that would rule at drive-ins if they still existed.
  22. Helmer Bruce David Klein's near-reverential treatment is a nice contrast to the rough-and-tumble of tour life.

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