Variety's Scores

For 17,840 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:
17840 movie reviews
  1. Freak Show...doesn’t exhibit an understanding of queer identity that goes much deeper than the sheer sequined fabulosity of Billy’s image.
    • 54 Metascore
    • 80 Critic Score
    Director Sidney Lumet has crafted a film with real pathos while writer Vincent Patrick (adapting his own novel) injects enough bawdy humor to create a delightful mixed bag spiced with almost a European sensibility.
  2. Life in a Day 2020 is quick to fall back on tidy montage methods — grouped shots of babies being born, skydivers jumping from planes, believers grouped in prayer, mourners in cemeteries — that rather strenuously force a sense of global communion, rather than seeking and stressing life’s more diverse and disorienting juxtapositions.
  3. Cocaine Bear is less formulaic than a slasher film and more stylishly made. It’s a true oddball, one that mixes yocks and mock desperation and disembodied limbs. So when it’s over you can say, “Well, we definitely saw that.”
    • 54 Metascore
    • 90 Critic Score
    For Your Eyes Only bears not the slightest resemblance to the Ian Fleming novel of the same title, but emerges as one of the most thoroughly enjoyable of the 12 Bond pix [to date] despite fact that many of the usual ingredients in the successful 007 formula are missing.
  4. Because of its unwieldy aspects, primarily those shoe-horned into the climax, its simplistic conclusion draws ire instead of the inspired elation these filmmakers crave.
  5. Ronnie is more complex, and much scarier, than the kind of self-deluding boob auds usually encounter in comedies of this sort. With the invaluable aid of Rogen, who's never been better, Hill sustains an impressive degree of tension between seemingly contradictory elements.
  6. The film is the portrait of a kind and giving man open to all positive ideas that come his way.
  7. Stylistic overreach and neglect of the uninitiated make Until the Light Takes Us a too-specialized examination of Norway's black-metal movement and the aberrant culture surrounding it.
  8. Slight but winning and often funny, the scrappy Amerindie Wah Do Dem is a fish-out-of-water comedy driven by Sean "Bones" Sullivan's offbeat performance.
  9. From a performance p.o.v., Aselton and Shepard hold the screen well and are most watchable, and Aselton does a fluid directing job within the limited challenge she set for herself production-wise.
  10. Fuqua is trying for John Ford meets Sergio Leone: a funky classical sweep, with room for delirious shootouts. The trouble is that he mimics the trademarks of those directors without their élan, and the plot that was once catchy is now rote.
  11. A trite and tangled potboiler that, despite its polemical pretensions, is just a glorified Korean domestic drama with classier couture and shapelier champagne flutes.
  12. Containing razor-sharp witticisms about feminine intuition, gendered sexual politics and relationships (both platonic and romantic), it excels beyond its self-deprecating title.
  13. The tension that should fire up this joint throughout never quite catches hold, because there are never any tangible stakes. These characters and their crisis remain just a premise, too incompletely worked out to either generate urgent suspense or enter the realm of surreal fantasia as Cage did in a long-ago road nightmare, “Wild at Heart.”
  14. When you’re simply looking for something semi-interesting to stream, stories like these don’t necessarily require great actors, but great actors are the reason some of them still reverberate in our memory decades later.
  15. The perennially insecure world of two-bit character actors is humorously and knowingly explored in With Friends Like These.
  16. The disorienting impact of this early shock, coupled with the zig-zaggy progression of the time-tripping narrative, goes a long way toward distracting from a fairly conventional premise that ultimately asserts itself above all the flash and filigree. Indeed, you could describe the entire movie as an elaborate con job — and intend that appraisal as a compliment.
  17. The narrative becomes more tenuous the deeper it strays into drama.
  18. It’s an engaging, mostly well-acted tale, full of surprising twists, even if some seem a bit too on the nose.
  19. The deliberately jittery hand-held lensing enhances the mockery in this mockumentary.
  20. We all know where this is headed — Snow’s destined to become Panem’s authoritarian “president” — but there’s still enormous room for surprise and debate, even among readers of Collins’ prequel.
  21. This sort of clinical detective movie hinges on creating a feeling of revelation, a kind of horror-saturated awe. The Little Things is just a warmed-over set of serial-killer-thriller clichés, like crime-scene photos we’ve seen before. And some of it doesn’t track all that well.
  22. Effectively piling nostalgia upon nostalgia upon nostalgia into a triple-layered Victorian sponge of particularly English sweetness, this good-natured, resolutely old-fashioned film will likely make any adults who grew up on Jeffries’ original a little misty-eyed.
  23. Offering blandly stereotypical characters in a trite road-trip narrative, it's genial but too silly for most grownups, and likely to impress few "High School Musical"-indoctrinated kids.
  24. Amiable but no more, Bee Movie puts a hiveful of potent talent at the service of a zig-zigging, back-of-an-envelope story that's short on surprise and originality.
  25. Feels particularly like old news after the risks of the rock 'n' roll lifestyle were laid out for the previously uninformed in last year's "Almost Famous."
  26. Director Chris Columbus shrewdly brings together many of the same selling points as in his "Home Alone" movies, mixing broad comedic strokes with heavy-handed messages about the magical power of family.
  27. Actor Shane West and writer-director Rodger Grossman have a clear, unwavering perspective on Crash that should entice curiosity seekers and old punks.
  28. A prolonged stay in a Belgian immigration detention center causes more than a few chinks in the armor of a strong-willed Russian femme in Illegal, Olivier Masset-Depasse's fascinating study of perseverance in the face of subhuman treatment.

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