Variety's Scores

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For 17,833 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: 9,165 out of 17833
  2. Mixed: 7,031 out of 17833
  3. Negative: 1,637 out of 17833
17833 movie reviews
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  1. Better Nate Than Ever
    Funny, vibrant, yet schmaltzy to a fault, this Disney Plus family film can carry a tune, but falters in crafting a runaway hit.
  2. Infinite Storm
    If it falls a bit short as human drama, however, Szumowska’s latest — a 180-degree turn from her last, the excellent Polish allegorical tale “Never Gonna Snow Again” — is fully satisfying as an appreciation of Nature as magnificent adversary.
  3. Metal Lords
    In a film that sings the praises of heavy metal music and reveres those who create it, Metal Lords stumbles in its ability to truly rock.
  4. Offseason
    Though thinly conceived overall with not much philosophy to back its daunting visuals, Offseason still offers some genuinely spine-tingling images and sounds that will keep midnight audiences on their toes until the end.
  5. The Rose Maker
    Pierre Pinaud’s short but unhurried film benefits immensely from the warmly flinty presence of Catherine Frot (“Marguerite”) in the lead, lending a sense of purpose and personality to a character without much color on the page.
  6. I Love My Dad
    [Morosini] holds back the personal stuff you can tell a stranger but not your dad — the kind of material good comedians build their shows around — making the result feel like a sitcom more than a brutally honest movie.
  7. Deadstream
    What keeps the film from being anything more than an enterprising but minor diversion is that, with Shawn being is such a loud comic character from the get-go, scares and laughs alike don’t have much space to build. Winter gives his all, entertainingly so. But the performance is also dialed too high, too soon, its ultimate payoff diminished because we’ve already had so much of this protagonist screaming, bragging and sniveling.
  8. Ticket to Paradise
    Looking and sounding like it could have been made 20 or 30 years ago, “Ticket” may not contain that much sparkling and sophisticated wit — or indeed many big belly laughs — but delivers sufficient smiles and chuckles to register as an easily enjoyable if unmemorable diversion for audiences seeking simple escapist entertainment.
  9. Amsterdam
    The result has all the red flags of a flop, but takes a strong enough anti-establishment stand — and does so with wit and originality — to earn a cult following. There’s too much ambition here to write the movie off, even if Amsterdam, like the history it depicts, winds up taking years to be rediscovered and understood.
  10. Violent Night
    The movie has no comic-book hook; it’s a trash-compactor genre buffet that smashes together a dozen things you’ve seen before. But that’s the hook. Violent Night is amusing in a few spots, wearying in more than a few others, but to complain about it in the way that I’m doing is to come off as churlish. It’s a movie that feeds the beast.
  11. As They Made Us
    Despite an eager-to-please ending that tries too hard to redeem the elderly Frays, Bialik’s movie still offers up hope, humor and above all, keen observations on grief in the wake of those who’ve damaged us in ways both tangible and veiled.
  12. Senior Year
    If Alex Hardcastle’s effortfully high-spirited Netflix feature isn’t exactly good, it’s still good enough to provide reasonable throwaway fun, thanks much less to the material than to a cast that elevates it when they can.
  13. Don't Make Me Go
    The movie’s ending is misguided to the point of being perplexing rather than upsetting, recasting everything that came before it in a less favorable light. That’s a shame, as this father-daughter drama starring John Cho has more than its fair share of touching moments before hitting the roadblock that is its questionable third act.
  14. White Building
    Even just the rooftop of this vast, scabbed Phnom Penh apartment complex seems to have a thousand stories to tell — it’s perhaps little wonder that Neang’s melancholic, perplexed, slightly ponderous feature debut gets a little lost navigating them.
  15. Jerry and Marge Go Large
    The movie is a fable of winning, of beating the house every time, without much of a dark side. In that way, it’s fun; it allows us to coast along on our vicarious desire to get rich by beating the system
  16. Day Shift
    At heart, though, it’s a knowingly eccentric goof of a movie, to the point that it’s hard, for a while, not to find it agreeable, even as you register what a preposterous piece of fluff it is. Unfortunately, it’s also an arduous piece of fluff. It’s full of blow-you-away action scenes, and it’s also full of rules — a satirical vampire cosmology that’s fun, until it starts to be just convoluted enough to give you a headache, especially when the rules are applied as inconsistently as they are here.
  17. Love in the Villa
    Love in the Villa’s building blocks may be as phony and manufactured as that balcony, but romantics will assuredly see and feel that the sentimental thematic resonance surrounding love and destiny comes from a genuine place.
  18. Rise of the Teenage Mutant Ninja Turtles: The Movie
    “Rise” is a serviceable — if also forgettable — entry in the cowabunga canon.
  19. Three Thousand Years of Longing
    These days, audiences are so savvy about the tricks at a filmmaker’s disposal that the movie’s greatest achievement is that it seizes our imagination (or perhaps that’s our attention deficit disorder being so brusquely manhandled) and holds it for the better part of two hours, defying us to anticipate what comes next.
  20. Salvatore: Shoemaker of Dreams
    The film is undeniably overlong, and far more engaging in its first half, which covers Ferragamo’s hard-up Neapolitan beginnings and lively career as a shoemaker to the stars in 1920s Tinseltown with a mixture of romantic evocation and chewy historical expertise.
  21. Armageddon Time
    The movie ends with a rebel gesture that feels too much like…a gesture. It’s the perfect sign-off for a drama that cares, but maybe not enough to see that this kind of caring actually became part of the problem
  22. The Five Devils
    The “Ava” director is more ambitious than successful this time around.
  23. Gang Related
    A good, complex story unravels in disappointingly over-the-top fashion in "Gang Related." Premise, about two homicide cops caught in a trap of their own making, is a grabber that sustains interest for quite a while, and pic's exploration of the gray area where law enforcement and criminality overlap is intriguingly developed.
  24. White Noise
    As a movie, White Noise announces its themes loudly and proudly, but the trouble is that it announces them more than it makes you feel them.
    • 66 Metascore
    • 60 Critic Score
    The Ipcress File
    Pic does not build up to the type of suspense usually demanded of such thrillers.
  26. Hocus Pocus 2
    Hocus Pocus 2 is actually the better made film, even if it amounts to little more than a stealth remake, with strategic decisions about the present-day and old-Salem witch trios being engineered to allow for more sequels, whether or not its star trio return.
  27. My Fake Boyfriend
    Late-night stakeouts, dinner dates gone awry and greenscreen Cristiano blunders often make My Fake Boyfriend feel like a collection of skits and sketches strung together. Some are very funny and they are led by two very capable performers.
  28. Cairo Conspiracy
    What we’re dealing with here is a fairly conventional political thriller — think “House of Cards,” minus the sleek David Fincher aesthetic or much in the way of suspense — set in a world no one has dared to explore on screen before now.
    • 61 Metascore
    • 60 Critic Score
    La Cage aux Folles
    Though predictable, the film has one solid trump in Michel Serrault who makes the more feminine member of the happy couple a very shrewd limning of outsize campy gay attributes that avoid tastelessness.
  30. Close
    I am convinced that Dhont has a masterpiece in him. But there’s an immaturity to his movies that he must first overcome. He’s already so close
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