Variety's Scores

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For 17,771 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 2.5 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: 9,130 out of 17771
  2. Mixed: 7,005 out of 17771
  3. Negative: 1,636 out of 17771
17771 movie reviews
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  1. Kung Fu Panda 4
    Po goes through the motions, but I’m sorry, the kick is gone.
  2. Amelia's Children
    A climactic tilt into a fight for survival remains sharply rendered by Abrantes, but it unfolds towards a forecast destination. The film’s evocative edge is gone.
  3. Outlaw Posse
    Outlaw Posse proceeds at something a bit slower than a full gallop, and incorporates more subplots than it can adequately do justice. But it never feels dull, thanks in large measure to the game performances of well-cast supporting players in an ensemble.
  4. Veselka: The Rainbow on the Corner at the Center of the World
    The film’s attitude seems to be: Come for the pierogis and goulash, stay for the humanitarian valor. Fair enough, but I wish the movie had drawn a deeper connection between the taste of freedom and the taste of Veselka.
  5. The Greatest Love Story Never Told
    The Greatest Love Story Never Told, the third part of her album-cycle media offensive, delivers precisely the revelatory perspective that its counterparts lack.
  6. Ryuichi Sakamoto | Opus
    Far more than a showcase of his talent and productivity, Ryuichi Sakamoto: Opus lets Sakamoto deliver an elegy, and in the process, an autobiography of his creative journey, as captured through the precision and poetry of director Neo Sora’s camera.
  7. As We Speak: Rap Music on Trial
    Not unlike its subject, the documentary’s power, beauty and complexity lie in Harper’s use of rhetoric and lyricism.
  8. The Roundup: Punishment
    The Roundup: Punishment minimizes unnecessary originality, while gloriously maximizing the opportunities for Lee to crack wise, or look aggrieved and a little bored, as though he’s just remembered he needs to do laundry, all while his meaty forearms land a flurry of sledgehammer punches so rapid their recipients, often quite literally, do not know what hit them. This, truly, is cinema.
  9. Pepe
    De los Santos Arias sends us on an uncategorizably odd journey down the river of his noodling, needling imagination in a rickety canoe that keeps on capsizing, upended by another sideswiping reference, another jarring change of scene and timeframe or yet another stretch of borderline incomprehensible narration from Pepe himself, a creature who is as surprised as we are that he has suddenly acquired language.
  10. The Empire
    Despite fun trappings . . . the actual conflict in the film boils down to a series of very simplistic binaries: good and evil, sacred and secular, female and male, one and zero, being and nothingness.
  11. A Traveler's Needs
    If Huppert’s endearingly scatty, offhand performance lends proceedings a veil of comfy familiarity, however, A Traveler’s Needs nonetheless finds the indefatigable Korean auteur at his most puckishly cryptic.
  12. No Other Land
    Given the conditions of its production, No Other Land would be vital even in a more ragged form. But the filmmaking here is tight and considered, with nimble editing (by the directors themselves) that captures the sense of time at once passing and looping back on itself.
  13. Crossing
    With Crossing, writer-director Levan Akin wants to open our eyes to the easily overlooked.
  14. Black Tea
    The film aims for woozy sensualism but falls way short on the ambient richness and X-factor chemistry required to sell such an essentially confected exercise.
  15. Dahomey
    Dahomey is a striking, stirring example of the poetry that can result when the dead and the dispossessed speak to and through the living.
  16. Mea Culpa
    Perry knows what he’s doing. He can’t possibly think any of this is believable for one second. But it could be fun to discuss its outlandishness over a few glasses of wine.
  17. Lubo
    The story of the stolen children was a secret way too long buried to be thus buried once more within a movie that is, simply, way too long.
  18. Another End
    Less designed to provoke than to soothe, perhaps the very familiarity of much of the movie is a virtue, letting us enjoy its sleek surfaces safe in the knowledge that there’s nothing much lurking in the depths to alarm us.
  19. Stopmotion
    Masterful as he is at creating the stuff of nightmares, Morgan (as well as co-writer Robin King) is much less assured handling the character actions, psychology and dialogue outside his heroine’s fevered psyche.
  20. Spaceman
    Spaceman, it’s my duty to report, is a glum and meandering science-fiction fairy tale of a movie.
  21. Drive-Away Dolls
    Drive-Away Dolls is 84 minutes long, and it’s styled to be an easy-to-watch caper, but it’s most definitely a trifle.
  22. Dune: Part Two
    Villeneuve treats each shot as if it could be a painting. Every design choice seems handed down through millennia of alternative human history, from arcane hieroglyphics to a slew of creative masks and veils meant to conceal the faces of those manipulating the levers of power, nearly all of them women.
  23. Ordinary Angels
    Gunn adeptly exercises a necessary modicum of visual dexterity to emphasize character drive.
  24. Lousy Carter
    We’ve all seen movies like “Lousy Carter” before, and this one’s adequate, without being particularly insightful or memorable.
  25. La Cocina
    A chaotic symphony of nearly two dozen characters, this black-and-white indie confection (garnished with sparing touches of color) mixes biting social critique with stylistic bravura.
  26. Suspended Time
    Alternating a thinly fictionalised portrait of the artist isolating at his family’s country home with fully autobiographical narration by the director himself, this mildly amusing but vastly indulgent bagatelle feels a tardy entry in the first wave of lockdown cinema — too late to feel fresh, but still too soon to have accumulated much meaningful perspective on an experience we all remember too well.
  27. Monolith
    The film, a debut feature from director Matt Vesely and screenwriter Lucy Campbell, falls sway to the clickbait tropes it intends to send up: red herrings, a tone of suffocating gloom and a desperation to keep the audience on the hook.
  28. Hundreds of Beavers
    On paper, it would hardly be expected to remain funny for eight minutes, let alone 108. But this ingeniously home-made lark never runs out of steam.
  29. This Is Me…Now: A Love Story
    To be fair, it feels like a person who’s generated her level of fame and success and attention will never truly be “knowable” to an ordinary person. But This Is Me…Now: A Love Story is the closest that they’ll likely come, and it’s a testament to Lopez’s talent that she’s able to take pop-star wisdom and make it seem like a window into her soul.
  30. Cuckoo
    Part of the massive entertainment value of [Singer's] wild and unwieldy second feature is that it is refreshingly free of any kind of manifesto.
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