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. In the Summers
    In the Summers is the type of personal, confidently executed first outing that should hopefully put the filmmaker on an auspicious track to produce other keenly humanist work.
  2. Super/Man: The Christopher Reeve Story
    Super/Man: The Christopher Reeve Story is a moving, wrenching, compellingly well-made documentary about Reeve’s life that inevitably ends up centering on his accident and its aftermath.
  3. Miller's Girl
    Written, produced and directed by Jade Halley Bartlett, the film is both impressively erudite and unrelentingly self-aware, a combination it bravely attempts but doesn’t quite fully balance.
  4. Suncoast
    An amiable ensemble effort, with two sturdy lead performances, Suncoast is reminiscent of the minor-key, quirky-charming ’90s dramedies so often discovered by the Sundance Film Festival. This is a fine thing; there are deserved laughs and tears. It is also a slightly awkward thing.
  5. Sasquatch Sunset
    Sasquatches may not exist, but miraculously enough, this movie does, and like the creatures it depicts, it must be seen to be believed.
  6. Stress Positions
    In real life, anyone would hate to spend even a few minutes in their company. Yet in Hammel’s hands, they become easy to enjoy and laugh at while completely understanding their full awful personalities.
  7. The Remarkable Life of Ibelin
    With whip-smart filmmaking that weaves together the physical and digital worlds, Ibelin is powerful cinema that uses its stylistic experimentation for distinctly humanist means, breathing life into a person’s story when it seemed like there were few dimensions left to explore.
  8. Eno
    The appeal of “Eno” — like the appeal of Brian Eno himself — is that the film conjures a wholehearted and accessible experience within an experimental veneer.
  9. Veni Vidi Vici
    Capitalism, as depicted here, is inherently sociopathic. As the murders continue to claim ordinary middle-class folks, audiences can’t help but find themselves on edge, bracing for the sniper’s next attack.
  10. Good One
    Collias impresses in a role that doesn’t grant her any great extremes of expression. Sam’s temperate demeanor may simply be her nature, but Collias’s tautly wired performance shows how it’s also a defense.
  11. Ghostlight
    Any critic sitting through their show probably wouldn’t have much patience for all the characters’ personal catharses, but seen from the right distance, as beautifully told as this, the experience amounts to something special.
  12. Girls State
    The film’s seven protagonists are the result of McBaine and Moss’s broad and deep interview process. Demographically diverse, the women are immensely watchable and touchingly articulate.
  13. Exhibiting Forgiveness
    Exhibiting Forgiveness sends you out on a note of hope, but it’s not exactly a feel-good movie. It’s a feel-the-reality movie, a drama willing to scald. That’s its quiet power.
  14. A Different Man
    With A Different Man, Schimberg attempts — and mostly succeeds, with deliciously awkward results — to cram a lifetime of thoughts about beauty and ugliness, attraction and disgust, identity and performance into a postmodern meta-film mold that few (apart from Charlie Kaufman, perhaps) have managed to make tolerable.
  15. Your Monster
    Mopey to a fault, with a missed opportunity for an ending, Your Monster amounts to an intermittently amusing, grubby-looking pity party.
  16. Handling the Undead
    Full of frail, mortal feeling and overcast last-days imagery, Handling the Undead lingers coolly in the bones longer than many zombie films that offer more immediate, grisly gratification.
  17. Between the Temples
    There’s a sweetness here to Silver’s typically jaundiced humor, an affectionately gilded frame around his broken-off character portraiture, that feels both new and entirely natural to his work.
  18. My Old Ass
    To its credit, this future classic is honest about adolescent desire, self-questioning sexual identity issues and all kinds of other behavior that sends worried moms and dads into meltdown mode.
  19. A Real Pain
    A Real Pain is an easy watch, a buddy movie rooted in the existential fun of verbal sparring. Yet it has an emotional kick that sneaks up on you.
  20. Love Lies Bleeding
    Love Lies Bleeding turns consciously wild and garish, and you may think that the film is losing control, yet Rose Glass is fiercely in control of what she’s doing. She’s made a midnight noir that shoots over the top of our expectations but lands where it should, at a place where even valorous people have to go to extremes.
  21. The American Society of Magical Negroes
    The sly beauty of The American Society of Magical Negroes is that it’s a wicked satire of white people that’s also an empathetic satire of Black people.
  22. Frida
    Even those already familiar with the trajectory of Kahlo’s existence may find the delivery here raw, vulnerable, and refreshing.
  23. Founders Day
    There are enough formulaic elements, especially teens meeting gory deaths, to keep undiscerning viewers in their seats. But the script (co-written by Erik and sibling Carson) stumbles in its climactic revelations, with an even worse epilogue bound to send patrons out rolling their eyes in unamused disbelief.
  24. Presence
    You want the movie to add up to something, but what it adds up to is another half-diverting, half-satisfying Soderbergh bauble, only this time he’s the ghost in the machine.
  25. Thelma
    Thelma may bill itself as an unconventional action movie, but it’s more of a sitcom, really.
  26. Freaky Tales
    Freaky Tales takes nearly 40 minutes to find its footing, but once it kicks in, there’s roughly an hour of grindhouse glory ahead (assuming streaming audiences make it that far).
  27. Love Me
    The Zucheros’ creation is audacious and original, but also suffers from some of the same ADHD issues that afflicted “Everything Everywhere All at Once” (both are movies made for multitaskers with brains wired for constantly switching between screens).
  28. I Saw the TV Glow
    This character-centered setup is where I Saw the TV Glow is most affecting, grounded by the tense, tacit bond between two highly guarded people — and given an electric jolt by Lundy-Paine’s fragile, volatile performance as someone certain there’s no accepting place for them outside the rectangular confines of the TV set. But
  29. Cobweb
    A film containing another film; a filmmaker referring to the trials of a filmmaker: it’s a movie of many layers, all of them garish and goofy, none of them great.
  30. Girls Will Be Girls
    Both Panigrahi and Kusruti deliver immensely lived-in performances that write sonnets through silent stares, as a mother and daughter who aren’t accustomed to truly connecting, or communicating beyond customary debriefs.
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