Variety's Scores

For 17,794 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 2.4 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:
17794 movie reviews
    • 61 Metascore
    • 50 Critic Score
    Robert De Niro's second film as a director adopts a methodical approach and deliberate pace in attempting to grasp an almost forbiddingly intricate subject, with a result that is not boring, exactly, but undeniably tedious.
  1. This rambunctious, "Jumanji"-style extravaganza is a gallery of special effects in search of a story; rarely has so much production value yielded so little in terms of audience engagement.
  2. Full of good intentions, We Are Marshall has a game plan that's hard to fault, but as with any playbook, a scheme is only as good as how well it's executed.
  3. Genuinely funny, randy and moving by turns, breezily enjoyable throughout.
  4. Zhang Yimou's strangest and most troubled film, abounds in hysterical, mannered Tang Dynasty-era palace intrigue and dehumanized CGI battle sequences.
  5. Taken together, "Flags" and "Letters" represent a genuinely imposing achievement, one that looks at war unflinchingly -- that does not deny its necessity but above all laments the human loss it entails.
  6. Intelligent scripting, solid thesping and eye-catching location shooting aren't enough to make a compelling modern film of The Painted Veil.
  7. The time away from the ring has done Rocky and the franchise some good, although it takes pic a good long while to gather momentum and clout before a surprisingly satisfying third-act heavyweight bout.
  8. Whatever audiences might have wanted to know about sculptor-filmmaker Matthew Barney but were too embarrassed to ask is revealed in accessible documentary Matthew Barney: No Restraint.
  9. Finally. After "The Phantom of the Opera," "Rent" and "The Producers" botched the transfer from stage to screen, Dreamgirls gets it right. Bill Condon's adaptation of the 1981 show about a Motown trio's climb to crossover stardom pulls off the fundamental double-act those three musical pics all missed: It stays true to the source material while standing on its own as a fully reimagined movie.
  10. For actor and director, the project seems like trying on a new coat, and it doesn't fit either of them.
  11. Entirely respectable in every way, it nonetheless has a very cool body temperature and thus likely will inspire polite admiration rather than excitement among viewers.
  12. Nowhere to be found is any dramatic surprise, heightening of the pulse or genuine pulling of heartstrings. Gary Winick's direction consists of button pushing, and the mechanics are palpable at every step.
  13. Appropriating all the external trappings of big-budget fantasy but none of the requisite soul, this leaden epic never soars like the CG-rendered fire-breather at the core of its derivative mythology.
  14. The Pursuit of Happyness is more inspirational than creatively inspired -- imbued with the kind of uplifting, afterschool-special qualities that can trigger a major toothache.
  15. Sarah Polley gives a wonderfully searching performance, as a woman in a state of extreme isolation, in The Secret Life of Words, a compellingly claustrophobic drama set mostly aboard an oil rig.
  16. There is an undeniable quirky appeal to the creative world of Daniel Smith, though those who hope a behind-the-scenes look will explain his motivation or personality won't find the enigma resolved here.
  17. Richly layered picture dramatizes a landmark doctor/patient showdown, chronicles a classic case of transgenderism and reveals how aspects of Schreber's story prefigured Nazism.
  18. Arthouse audiences who welcome challenging material will find sustenance in film's fractured narrative and unflinching characterizations.
  19. An unwieldy mix of self-conscious camp and heavy-handed allegory, Automatons plays like a cheesy '50s no-budget sci-fier with serious delusions of grandeur.
  20. Mel Gibson is always good for a surprise, and his latest is that Apocalypto is a remarkable film. Set in the waning days of the Mayan civilization, the picture provides a trip to a place one's never been before, offering hitherto unseen sights of exceptional vividness and power.
  21. Africa's enduring sorrow is ripe for drama, but Blood Diamond is, finally, a fitting metaphor for the gems: Potentially brilliant from a distance, but upon closer inspection, one likely will see the flaws.
  22. A lavishly overstuffed gift basket of a movie.
    • 43 Metascore
    • 60 Critic Score
    It's a crowdpleaser -- at least for crowds aged about 6 to 12.
  23. Anchored by a terrific performance from Nick Nolte as a grizzled umpire who gets an unexpected second chance at fatherhood, this easygoing comedy-drama plays out slowly but assuredly, infusing a conventional story about a blossoming relationship with welcome reserves of honesty and humor.
  24. A noble cause does not a good movie make. Pic repeatedly drowns its impassioned message with music, creating an awkward hybrid between history lesson and concert documentary.
  25. Infused with a strong sense of moral outrage, The Empire in Africa provides more heat than light while attempting to explain the motives and methods of combatants who waged the 1991-2002 civil war in Sierra Leone.
  26. Since the documentary will likely find its home in the educational market, a more balanced approach might have made it more insightful and educational.
  27. A deft, witty and emotionally rewarding study of a thirtysomething man in his roles as father and son.
  28. Inland Empire may mesmerize those for whom the helmer can do no wrong, but the unconvinced and the occasional admirer will find it dull as dishwater and equally murky.

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