Variety's Scores

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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:
  1. Positive: 9,166 out of 17839
  2. Mixed: 7,035 out of 17839
  3. Negative: 1,638 out of 17839
17839 movie reviews
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  1. The Assault
    The tense buildup to a blazing, if generic, rescue is the most satisfying part of The Assault, a stylized combo of action and drama from Julien Leclercq.
  2. Dominion: Prequel to the Exorcist
    Result is hardly a diabolical failure, if not quite a heavenly masterpiece. Schrader's intelligent, quietly subversive pic emphasizes spiritual agony over horror ecstasy, while paying occasional lip-service to the need for scares.
  3. Wendy
    What felt so revolutionary in 2012 is no less visionary today, but packs a disappointing sense of familiarity this time around, like tearing open your Christmas presents to find … a huge stack of hand-me-down clothing. Or else, like watching a magic trick performed a second time from a different angle.
  4. The Greatest Game Ever Played
    Offers an inspiring story, lush visuals and accessible characters to give a black-hat-white-hat view of class struggle in America and England.
    • 55 Metascore
    • 50 Critic Score
    Far from the Madding Crowd
    Julie Christie, Peter Finch, Terence Stamp and Alan Bates are variedly handsome and have their many effective moments, but there is little they can ultimately and lastingly do to overcome the basic banality of their characters and, to a certain degree, their lines.
    • 55 Metascore
    • 60 Critic Score
    The Comancheros
    The Comancheros is a big, brash, uninhibited action-western of the old school about as subtle as a right to the jaw.
  7. The Craft
    Four gifted and attractive actresses struggle hard to lend a semblance of dramatic coherence to The Craft, a neatly crafted film that begins most promisingly as a black comedy a la Heathers, but gradually succumbs to its tricky machinery of special effects. Still, young audiences, particularly women, are likely to connect with this energetic high-school tale about the vengeful empowerment of rebellious misfits.
    • 55 Metascore
    • 70 Critic Score
    Kidnapped
    An intriguing adventure piece set against that period in Scottish history when the English were trying to take over that country's rule.
    • 55 Metascore
    • 70 Critic Score
    Rhapsody in Blue
    Those who knew George Gershwin and the Gershwin saga may wax slightly vociferous at this or that miscue, but as cinematurgy, designed for escapism and entertainment, no matter the season, Rhapsody in Blue can't miss.
    • 55 Metascore
    • 70 Critic Score
    I Walk Alone
    I Walk Alone is tight, hard-boiled melodrama.
    • 55 Metascore
    • 50 Critic Score
    The Road to Hong Kong
    The script is spiced with a number of private jokes (golf, Hope’s nose, Crosby’s dough, reference to gags from previous Road films) but not enough to be irritating. Major disappointment is Joan Collins, who though an okay looker, never seems quite abreast of the comedians.
  12. Hellion
    More sensitive than sensational, Candler’s debut doesn’t add much in the way of insight to the juvenile delinquency genre, but boasts a stunning breakthrough performance from newcomer Josh Wiggins as the troublemaker in question.
  13. I Can Do Bad All by Myself
    Perry's latest emotional roller coaster starts with considerable promise and a high-wattage cast, including Taraji P. Henson and singers Gladys Knight and Mary J. Blige, before giving way to melodramatic predictability.
    • 55 Metascore
    • 70 Critic Score
    Dead of Winter
    Mary Steenburgen is first-rate as the struggling actress.
  15. The Boy in the Striped Pajamas
    Opening half-hour has some of the best stuff in the movie, walking a precarious line between black irony and showing the war from a totally German viewpoint, without tipping over into gallows humor or parody.
  16. Jackie & Ryan
    Mellow, digestibly sweet and embellished with lovely folk tunes, this modest bit of Americana reveals pleasing new sides of both leads.
  17. A Lot of Nothing
    Even if the onyx-dark humor and sardonic formal control go MIA eventually, “A Lot of Nothing” is really quite something.
  18. Close to You
    Page’s performance isn’t moving merely for whatever parallels it might hold to his life: Rather, it’s a reminder of what a deft and perceptive actor he can be, capable of both naked emotional candor and acidic wit — both assets to a script that sometimes errs on the side of caution.
  19. The Scoundrel's Wife
    A bland gumbo of wartime intrigue and home-front soap opera in the bayou country of Louisiana.
  20. The Truth About Charlie
    Dazzlingly nimble and light on its feet, this breezy but densely textured love letter to modern, multicultural Paris in the guise of a romantic suspenser returns its director to the vibrant vein of his pre-Oscar work in "Something Wild" and "Married to the Mob."
  21. Veronica Guerin
    The supporting perfs provide the real drama, especially Hinds' excellent turn as the outwardly macho but inwardly broken Traynor, and McSorley's simmering portrayal of the psychotic Gilligan
  22. P.S.
    Laura Linney’s beautiful performance is most of the story in p.s.
  23. Dhobi Ghat (Mumbai Diaries)
    This tale of four Mumbai dwellers at a crossroads in their lives owes more to Taiwanese or French auteur cinema than to Satyajit Ray.
    • 55 Metascore
    • 70 Critic Score
    Kids in the Hall: Brain Candy
    The mad scientist/corporate heavy comedy is an odd combination of belly laughs and cerebral humor that will delight those familiar with the sketchcom troupe's antics.
  25. Hot Milk
    The film unfolds in a dreamy, liminal place in Sofia’s personal evolution, but lacks the tangible sense of vicariously experiencing it ourselves — a shame, since it’s a splendid location in which to be doing such intensive self-healing.
  26. 8: The Mormon Proposition
    For sympathetic outsiders, on the other hand, it covers a lot of ground in a short space, not always in the most organized way, but on enough fronts to spark an informed dialogue.
  27. 2 Guns
    Kormakur shows he knows his way around an action movie better than most, keeping the pace quick, the banter lively and the old-school, mostly CGI-free thrills delivering right on schedule.
  28. Legend
    For all Hardy’s expressive detail and physical creativity, Helgeland’s chewy, incident-packed script offers little insight into what made either of these contrasting psychopaths tick, or finally explode.
  29. Don't Come Knocking
    Strikes some resonant chords but also hits notes that simply don't ring true and are borderline risible at times
  30. About Time
    Curtis ends up making a virtue out of the narrative’s episodic quality, a tendency that’s been criticized in his previous work; the film, like life, is just one damn thing after another, and that’s really the rather lovely point.
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