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
  1. It's a career-crowning role for Glenn Close. Too bad the film is such a drag.
  2. An imperfect but glassily compelling study of obsessive, finally debilitating desire that honors its source with an unblinking female gaze.
  3. Though often enjoyable, it’s an old-fashioned, feel-good movie whose significance is more sociological than cinematic.
  4. Powered by two eye-catching performances.
    • 57 Metascore
    • 60 Critic Score
    The real question with Rocky III was how Sylvester Stallone could twist the plot to make an interesting difference. He manages. As usual, Stallone the writer-director is less successful in handling all the dramatic interims than staging the battles.
  5. Lights in the Dusk finds veteran Finnish helmer Aki Kaurismaki treading water with an amiable but very undercooked noirish fable about a security guard done wrong by a femme fatale.
  6. Likeable if rambling first feature by Icelandic helmer Olaf de Fleur Johannesson ("Africa United") evinces the helmer's background in documaking, and reps a kind of quasi-doc itself with real-life trannies riffing on their own personas.
  7. Visually stunning, almost impossibly intimate results. Unfortunately, this footage is welded to a creakily executed story and narrated by a schticky, frequently bellowing Tim Allen.
  8. Teen Spirit is too tidy, concocted, and safe. It longs to channel the high of great pop, but as a movie it lacks the ecstatic imagination to do what great pop does. It never soars.
  9. The undeniable intensity of Gyllenhaal’s bulked-up, Method-mumbling performance may leave you feeling more pummeled than convinced in this heavy-handed tale of redemption, in which director Antoine Fuqua once more demonstrates his fascination with codes of masculine aggression, extreme violence and not much else.
  10. It redefines family craziness as normal in a way that those who seek it out will gratefully relate to.
  11. The filmmakers’ renewed vigor is our reward as, similar to its unfussy title, this sequel deals in clean-lined action and suspense, removing much of the excessive weight that bogged down the original.
  12. Happy Death Day 2U is more complicated than the first “Happy Death Day,” but in this case more complicated means less fun.
  13. In “Shirley,” John Ridley’s sharp and lively inside-political docudrama, Regina King plays Shirley Chisholm with a quiet force you can’t look away from.
  14. Even as it thrusts itself into an electrifying, bloodied thriller of a final act, the film doesn’t land any of its social commentary: Its satire remains much too obtuse, its parable much too diffused.
  15. A thoughtful, detailed chronicle of the Fed’s origins, responsibilities and shifting monetary policies.
  16. Like a mouthful of honey, The Secret Life of Bees is cloyingly sweet and gooey, and you're not quite sure you can swallow it undiluted.
  17. Goldman’s frequently amusing script is the secret ingredient that makes “Miss Peregrine” such an appropriate fit for Burton’s peculiar sensibility, allowing the director to revisit and expand motifs and themes from his earlier work.
  18. Renee Zellweger, in another Blighty role, struggles to make Beatrix credible.
  19. The surprise twist brutally defies the opening narration and plot logic that preceded it, alienating viewers who willingly suspended disbelief.
    • 57 Metascore
    • 50 Critic Score
    Christine seems like a retread. This time it's a fire-engine red, 1958 Plymouth Fury that's possessed by the Devil, and this deja vu premise (from the novel by Stephen King) combined with the crazed vehicle format, makes Christine appear pretty shop-worn.
  20. To watch young people fall into old patterns is still to watch those old patterns, and the film cannot escape the familiarity of its archetypal, rise-to-power, fall-from-grace narrative.
  21. This inordinately likable and consistently funny boxing saga-cum-romantic comedy doesn't so much ridicule the "Rocky"-type inspirational sports fable as gently deflate its heroic overdrive.
  22. Watching Limelight, about the rise and politically engineered fall of onetime Manhattan nightclub kingpin Peter Gatien, is like looking through a family album: If you're in the family, you might be interested.
  23. Despite early-on guffaws, pic suffers from the same problem that has plagued nearly all of the similarly adapted “Saturday Night Live” films: It fails to sustain its initial burst of comic inspiration over the course of its feature-length running time.
  24. Detailing the eight-month build-up to the show’s debut, First Monday in May is most compelling when simply taking up residence alongside Bolton, Wintour and Wong as they oversee the myriad aspects of their production.
  25. Boasts way better production values than the penny-pinching 1981 original and conceivably could delight genre fans who have never seen the first version or its previous remakes/sequels. But it’s bound to play best with those who catch Alvarez’s many wink-wink allusions to Raimi’s picture.
  26. A mobster movie without whackings, a thriller without suspense and a courtroom drama without resolution, this turgid retelling of an unsolved missing-persons case functions mostly as a portrait of a young woman who loved too passionately and the manipulative creep incapable of reciprocating her affections.
  27. It’s the mix of tones — the cheeky and the deadly, the flip and the romantic — that elevates “Thor: Love and Thunder” by keeping it not just brashly unpredictable but emotionally alive.
  28. Pleasant, if mediocre family fare.

Top Trailers