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. A furiously paced popcorn picture whose outrageous implausibility is somewhat amusing, Volcano delivers enough spectacular action to get it off to a hot B.O. start, although like the lava in the picture, it may not flow quite as far as anticipated.
  2. The movie’s much too flashy, allowing its cheeky attitude to overpower the otherwise humanist message (somehow, absurd situations feel less so when the narrator is constantly pointing out how outrageous everything seems to be), while the acting is all over the place.
  3. A late third-act turn into sentimental territory, in which the original show’s misanthropy is sugared up, may feel artificial to viewers drawn to the series’ persistent despairing streak; still, it makes a certain sense given that the film would otherwise entirely lack an emotional arc.
  4. The film’s hyperbolic style and convoluted storytelling tend to exhaust patience rather than build intrigue, making for a muddle whose too-many twists and turns ultimately seem meaningless as well as implausible.
    • 54 Metascore
    • 80 Critic Score
    Each of the femme stars is given much screen time and the result not only is excellent spotlighting of their own talents, but also an adroit restraint on Matthau’s presence.
  5. This pleasantly diverting, none-too-strenuous arthouse excursion feels like a throwback to Allen's short-story anthologies, with the added pleasure of seeing a game cast play along.
  6. Hosking has a vision, and more often that not, it works.
  7. This third feature for director Daniel Robbins is no delicate flower of cinematic art, but a lean and mean shocker that tells its tale of collegiate hazing run amuck with brute efficiency.
  8. Its low-key charms are considerable enough to engage venturesome ticketbuyers.
  9. The segments vary in quality and the whole overstays its welcome at nearly two hours.
  10. A good-looking but slim confection that's short on the multi-characterisation and sense of entwined destinies that mark the great Lelouch sagas.
  11. The lack of a plausible leading lady is enough to sink what is otherwise an eye-catching, although heavily '90s-style, telling of one of history's most frequently filmed stories.
  12. Powered by exceptional displays of physical filmmaking, Deep Blue Sea is pulled back to shore by the usual suspects -- weak plotting and weaker dialogue.
  13. The cinematic equivalent of calendar art.
  14. Boosted by a delish performance from Carrie-Anne Moss as a local vamp who helps unthaw the Englishman, but holed beneath the waterline by a gratingly miscast Sigourney Weaver as the persnickety autistic.
    • 54 Metascore
    • 50 Critic Score
    Will be either a turn-on or turn-off, depending on one's sense of humor.
  15. An undemandingly pleasant, mildly amusing fantasy.
  16. Though conceptually intriguing, the mix of downward drug spiral with uphill struggle for good never really coalesces.
  17. Rather than channeling James Thurber’s satirical tone, Stiller plays it mostly earnest, spinning what feels like a feature-length “Just Do It” ad.
  18. A quarter-century ago, such an assured, emotionally satisfying French offering as this could have done significant business in the States, the way films like “Jean de Florette” once did.
  19. Unpretentiously touching on the page, this material feels stretched a bit thin on film, with televisual production values and a samey song score doing little to enrich matters: Still, it’s sweetly hopeful .
  20. Rollicking story of a rich kid whose wildly successful bid for popularity has him playing drug-distributing shrink to an entire high school boasts pitch-perfect faceoffs between upstart Anton Yelchin and alcoholic principal Robert Downey Jr. that could fuel a chemistry lab.
  21. The off-the-wall comedy of Robert Smigel and Judd Apatow leaves a mark on the script, but it would require a talent of Peter Sellers' magnitude to conquer this material, and he's not around.
  22. Alternately glib, superficial and amusing, pic vainly attempts to absorb some degree of Serbian irony into a story that's unavoidably lessened by its privileged American vantage point.
  23. The film is ice cold, never finding a way to invite the viewer into the story, and Richard Gere doesn't convince as a Jewish biblical scholar.
  24. The film frequently privileges art direction over emotion, and a constant sense of wonder based on visuals alone proves impossible to sustain over the lengthy 130-minute runtime.
  25. Life’s a thrill when it’s smart, but it’s even more exciting when the characters are dumb — which is ultimately a paradox the film wears proudly, to the possible extinction of the human race.
  26. Son
    Son never quite binds its tricky, episodic story into a persuasive or gripping whole.
  27. Rogers’ stage play is a smart, mature piece of writing, but one that transfers rather clumsily to the small screen, in part because its makers don’t show quite the same confidence in their audience’s intelligence.
  28. The Simple Favor films fill a niche, one that they helped create: the knowing synthetic thriller rooted in the angst of contempo motherhood. But this one both diverts and drags on.

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