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. Its politics and dramatic line are familiar and far from convincing.
  2. Arguably the finest athlete in living memory deserves better than Michael Jordan to the Max, an honorific but unmoving portrait of the Chicago Bulls' No. 23.
  3. The brooding, well-constructed drama gets considerable mileage out of the schizoid twin dynamic.
  4. A frequently mesmerizing if exceedingly strange coming-of-age odyssey.
  5. Hedlund’s humble, hard-to-love performance makes the aptly named Burden work as both a portrait of one weak-minded man, and as a study of the ideas people carry without questioning why.
  6. Moderately inspiring in the way such true-life stories of "the indomitable human spirit" are always constructed to be.
  7. The film's transitions between periods are not entirely seamless and its discourse often becomes didactic. However, the depth and intelligence it brings to issues of black politics and sexuality could help carve an appreciative theatrical audience in upscale gay and/or urban niches.
  8. A bold, often clumsy, but always intriguing piece of work.
  9. Collectivist in spirit, this mostly entertaining film lacks an official host or voiceover narration, which first works swimmingly but eventually becomes too diffuse.
  10. Cute and clever though the plot may be, everything is played out in the broadest possible terms without an iota of nuance or subtlety.
    • 57 Metascore
    • 40 Critic Score
    The energy and heart which Robert Zemeckis and story-writing partner Bob Gale (who takes solo screenplay credit this time) poured into the ingenious story of part one is diverted into narrative mechanics and camera wizardry in Future II.
  11. Pic can be taken as either inspirational or cautionary, but either way rivets attention on the efforts of both medical science and Conn herself to keep the little guy alive.
  12. There’s a point beyond which it’s difficult to believe anything that happens on screen, and impossible to care what is supposed to be real or not. Unfortunately, the movie continues for a lengthy stretch after that, until it literally trudges into a deep, dark hole.
  13. William Olsson’s film works as an atmospheric mood piece and sometime erotic drama. It’s less successful as a character study.
    • 57 Metascore
    • 80 Critic Score
    Sam Spiegel comes up with a rarity: the intimate epic, in telling the fascinating story of the downfall of the Romanovs.
  14. The unexpected formal execution draws the excitement out of what’s mostly a straightforward narrative.
  15. The cheesy screenplay, shallow characters and wince-worthy acting (from all but A-listers Hardy, Whitaker and Olyphant) suggest that Evans might be better suited to specializing in the second unit or action sequences on a major franchise, rather than writing and directing a quasi-dramatic feature.
  16. The film amounts to a lousy sort of magic show, schematically pulling strings to prove its own points.
  17. A handsome chunk of widescreen entertainment that's as nimble as its rakish hero.
  18. War Dogs marks a key turning point for Phillips. After all these years of yocks, it’s his first true grown-up movie, and it’s a nimble, gripping, and terrific one, with plenty of laughs, only now they’re rooted in the reality of fear, and in behavior that’s authentically scurrilous.
  19. Unlike Steven Soderbergh's twisty "Side Effects," Karpovsky's picture seldom surprises, its strengths lying in a leisurely journey toward a clearly predestined denouement.
    • 57 Metascore
    • 40 Critic Score
    A hot subject, cool style and overly contrived plotting don’t all mesh in American Gigolo. Paul Schrader’s third outing as a director is betrayed by a curious, uncharacteristic evasiveness at its core.
  20. Ponderously overlong and not even half as much fun as it should have been, The Equalizer still gets a lot of mileage out of Washington’s unassailable star presence.
  21. Crisp, efficient and appreciably modest in scale...this conspicuous attempt to breathe new life into a long-dormant action franchise gets at least a few things right, chiefly the shrewd casting of Chris Pine.
  22. Ritchie has never worked on a scale anything approaching this before and, while some of the directorial affectations are distracting, he keeps the action humming.
  23. No small part of the satisfaction of Immaculate comes from witnessing someone find faith in herself.
  24. It’s a processed confection that has come off the streaming assembly line. Yet if the comedy here is mostly routine, the romance is another thing. It really does work, because the actors don’t just phone in the love story — they dance with it, commit to it, and own it.
  25. Actress Clea DuVall’s debut feature as writer-director is an ensemble piece that breaks no new ground in themes or execution, but is pleasingly accomplished on all levels.
  26. Has a patched-together feel, and its aims as human drama, social documentary and vigilante movie are never quite reconciled.
  27. A little Sergio Leone here, a little "Sleepy Hollow" there, a grand helping of late royal-era Gaul with its wigs and finery, and, uh, martial arts-style confrontations galore are all deftly melded in Brotherhood of the Wolf.

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