Variety's Scores

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For 17,835 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 17835
  2. Mixed: 7,032 out of 17835
  3. Negative: 1,637 out of 17835
17835 movie reviews
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  1. Blue Bayou
    Blue Bayou holds little back as it rails against the cruelties and hypocrisies of American immigration law to stirring effect — though this emotional pile-driver of a film could stand to trust more in the undeniable power of its core story.
  2. The Ride
    The Ride doesn’t break new ground, but its likable cast delivers some nuanced even touching twists.
  3. The Princess Switch: Switched Again
    Though inevitably the formula wears a little thinner in spots this time, it’s a frothy fantasy that should satisfy viewers’ itch for confectionary-looking Christmas fluff.
  4. Brothers By Blood
    It’s only Guez’s second film, although he’s written others (including the similarly genre-subverting zombie movie “The Night Eats the World”), and there’s enough promise here — especially on the performance front — to look forward to future projects.
    • 51 Metascore
    • 60 Critic Score
    Shalako
    The film is a slow starter while the various characters are being established and has an over-abrupt and inconclusive ending. Intriguing are the relationships between members of the hunting party.
    • 70 Metascore
    • 60 Critic Score
    The Offence
    There's a powerful confrontation of authority and accused between police sergeant Sean Connery and suspected child molester Ian Bannen in Sidney Lumet's The Offence. A brilliant scene, however, does not in itself make for a brilliant overall feature.
  7. Safety
    Although Safety takes its cues from a true story, its beats are comfortingly familiar — or annoyingly so, depending on your fondness for the rhythms of the genre.
  8. Let Them All Talk
    It’s probably best to think of this as either an experiment or an exercise, Soderbergh’s way of challenging himself yet again. What results may not be literature exactly, but it broadens other creators’ of idea of what the medium can do.
  9. DragonHeart
    Director Rob Cohen has pulled together a simple yarn of an itinerant dragonslayer who decides to team with his prey to rid the land of an evil ruler who has betrayed them both. Tale’s poignancy stems from the fact that fire-breathing, armor-plated, high-flying creature is the last of its kind; when he dies, dragons will have passed entirely from Earth.
    • 63 Metascore
    • 60 Critic Score
    A Bridge Too Far
    Futility and frustration are the overriding emotional elements in A Bridge Too Far, Joseph E. Levine's sprawling Second World War production [from the novel by Cornelius Ryan] about a 1944 military operation botched by both Allied and German troops.
    • 50 Metascore
    • 60 Critic Score
    Wrong Is Right
    Wrong Is Right represents Richard Brooks' shriek of protest at what he sees as the insane, downward spiral of world history over the past decade. Part political satire, part doomsday melodrama and part intellectual graffiti scribbled on the screen, film is impossible to pigeon-hole.
  12. If Not Now, When?
    It’s not groundbreaking but, written by Bass, the movie serves as a fine reminder of the pleasures of a female-focused story with the stuff of adulthood at its core.
  13. Yalda, a Night for Forgivness
    Bakhshi’s sure-handed assessment of Iran’s class struggle, a thoughtfully-parsed topic with universal implications, is the film’s most fascinating dimension.
  14. The Last Blockbuster
    The Last Blockbuster taps into analog lovers’ fond feelings for the monstrosity that gobbled up the little guys, then gave up, leaving not just movie fans but franchise owners like Sandi Harding to fend for themselves. Is the company’s demise really something to be mourned, or was its rise the real tragedy?
  15. Flora & Ulysses
    Pudi plays officer Miller like one of the cocky cops from “Reno 911!” laughably tough-acting behind his tinted aviator specs. He’s effectively a human cartoon character in a movie that’s most appealing when it shifts over to hand-drawn comic frames, and silly as much of the mayhem is, Khan deserves credit for translating such slapstick to live action.
  16. Mortal Kombat
    True to the game, the violence is both ghoulishly creative and gratuitously extreme.
  17. Furiosa: A Mad Max Saga
    “Furiosa,” like “Beyond Thunderdome,” wants to be something loftier than an action blowout, but the movie is naggingly episodic, and though it’s got two indomitable villains, neither one quite becomes the delirious badass you want.
  18. Babylon
    Chazelle has essentially orchestrated a loud, vulgar live-action cartoon of a film, and while it’s exhilarating at times to witness the sheer virtuosity of his staging, the performances are all over the place. Babylon sorely lacks a point of view.
  19. Skyfire
    This thrill-packed tale about an angry volcano wreaking havoc on thinly written characters at a luxury island resort plays like a souped-up and much better remake of Irwin Allen’s 1980 turkey “When Time Ran Out.”
  20. Finding 'Ohana
    While imperfect and at times predictable, the adventure these filmmakers and performers take us on feels like a warm tropical breeze.
  21. Passenger 57
    A reasonably saucy action tale.
    • 65 Metascore
    • 60 Critic Score
    Mortal Thoughts
    Played straight and for sympathy, tale of dark retaliation goes astray early on, despite the promise created at the outset by imaginative, energetic production and appealing performances.
    • 47 Metascore
    • 60 Critic Score
    Oscar
    Oscar is an intermittently amusing throwback to gangster comedies of the 1930s. While dominated by star Sylvester Stallone and heavy doses of production and costume design, pic is most distinguished by sterling turns by superb character actors.
  24. Point of No Return
    If imitation is the highest form of flattery, then “Point of No Return,” a soulless, efficiently slavish remake of “La Femme Nikita,” creates a whole new category of homage-paying.
  25. Simple Passion
    An imperfect but glassily compelling study of obsessive, finally debilitating desire that honors its source with an unblinking female gaze.
  26. Adverse
    The very best thing in the entire movie is Rourke’s surprisingly affecting and consistently riveting portrayal of Kaden as a melancholy monster who is at once painfully self-aware and unapologetically amoral.
  27. Home Alone 2: Lost in New York
    The studio has simply re-made the first movie, only with bigger pratfalls.
    • 39 Metascore
    • 60 Critic Score
    Dr. Giggles
    More care in scripting and fewer cheap yocks could have resulted in a viable new paranoid horror myth well-timed to America’s ongoing crisis in health care.
  29. Censor
    Censor is a stylish calling card for all involved, one that certainly demonstrates an impressive level of directorial control for a debut filmmaker. But that control does sometimes feel like constriction.
  30. In the Earth
    The film feels right in line with the kind of mayhem that Wheatley has been serving up his entire career, including some graphically gory details that are hard to unsee. And in that way, it’s not unlike the pandemic itself, infecting our brains with sick ideas — which, of course, is just what a certain audience wants from a horror movie.
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