Variety's Scores

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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:
  1. Positive: 9,167 out of 17840
  2. Mixed: 7,035 out of 17840
  3. Negative: 1,638 out of 17840
17840 movie reviews
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  1. Masters of the Universe
    It’s a nostalgia trip that never quite belongs to the present, and never rouses any real, cherished memory of the past.
  2. A Shine of Rainbows
    Irresistibly good-natured even when it's cheesy.
  3. The Interview
    An alleged satire that’s about as funny as a communist food shortage, and just as protracted.
  4. RoboCop
    It’s a less playful enterprise than the original, but meets the era’s darker demands for action reboots with machine-tooled efficiency and a hint of soul.
  5. Saint Laurent
    The upside for Saint Laurent’s admirers is that Bonello’s film reflects more of the designer’s tortured creative drive in its dark onyx surfaces; it’s the slightly deranged auteur portrait that a fellow artist and iconoclast deserves.
  6. 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
  7. Touching Home
    Despite the tale's real-life basis and a solid Ed Harris as their fictive equivalents' alcoholic dad, Touching Home emerges as a formulaic triumph-over-odds tale with too little distinguishing detail.
  8. Boris Without Béatrice
    A brittle, no-joke comedy of unchecked privilege that maintains the tone of social satire without ever alighting on a specific target.
  9. Linsanity
    Evan Jackson Leong’s film makes the most of its superior access and exciting basketball footage, overcoming repetitive stretches by sheer dint of a tremendous underdog story.
  10. Beautiful Creatures
    Fortunately, writer-director Richard LaGravenese has jettisoned most of the novel and refashioned its core mythology and characters into a feverishly enjoyable guilty pleasure.
  11. I Am Secretly an Important Man
    Given his due and more by Sillen's insightful and occasionally startling portrait, Bernstein is made a complicated, even morbidly fascinating figure in a film that will have limited theatrical exposure but, like the director's earlier work, will likely enjoy a cultish afterlife.
  12. The Main Event
    Even though the feature reflects WWE’s core values built on family, teamwork and inspirational aspirations, and contains healthy messages about proving one’s mettle using wit and wisdom, The Main Event sags far too frequently.
  13. Chantilly Lace
    An amiable, middle-brow entertainment, Chantilly Lace provides a knowing, bittersweet look at the complex lives of modern American women.
  14. William Tell
    William Tell is most confident when Bang is allowed to commit to pulpy bravado, with long bellows of “No!” and “Go!” and an impressive 6’4’’ frame. He’s the tallest man in all the Alps; in a movie as silly and simple-minded as this one, of course that makes him the hero.
  15. Rebels with a Cause
    Encapsulates the turbulent times of the Students for a Democratic Society.
  16. Haiku Tunnel
    While it plays more like stage or TV sketch-comedy shtick than film material, this modest, visually unimposing production remains entertaining thanks to its ironic observations and winning sense of folly.
  17. Seeing Other People
    While lacking originality, pic is a case of cogent moviemaking that really knows its business. Traces of early Steven Soderbergh and recent Larry David enhance one of the most satisfying comedies in a fallow season.
  18. 800 Bullets
    An uneven but exuberantly anarchic comedy homage to the spaghetti Western.
  19. Nothing Bad Can Happen
    Skillfully made first feature by writer-director Katrin Gebbe has some undeniably striking passages and performances, but ultimately spirals toward a gruesome third act that is no less monotonous for supposedly being based on true events.
    • 51 Metascore
    • 70 Critic Score
    We're No Angels
    At times proceedings are too consciously cute and stage origin of material [a play by Albert Husson] still clings since virtually all scenes are interiors with characters constantly entering and exiting. However, Michael Curtiz’ directorial pacing and topflight performances from Humphrey Bogart, Aldo Ray and Peter Ustinov help minimize the few flaws.
  21. The Intern
    It takes all the leads’ considerable combined charm to forestall the aftertaste of the pic’s smug life lessons and near-comically blinkered worldview.
  22. The Getaway
    The Getaway is a pretty good remake of a pretty good action thriller.
  23. Dangerous Beauty
    While there’s much to admire in the film, both its setting and tone seem out of touch with prevailing tastes.
  24. Doing Time for Patsy Cline
    Overall the charm of the film works its spell, and director Kennedy shows confidence in juggling understated comedy and gently sentimental drama.
  25. The Age of Adaline
    A sensitively directed slab of romantic hokum that wrings an impressive amount of emotional conviction from a thoroughly ludicrous premise.
  26. 96 Minutes
    Despite the over-familiarity of its once-trendy time-tripping plot structure, 96 Minutes maintains a brisk pace and generates a satisfying degree of suspense with its credibly contrived tale of disparate lives forever changed by a violent carjacking.
    • 51 Metascore
    • 40 Critic Score
    The Grass Is Greener
    The Hugh and Margaret Wilson screenplay, adapted from their London stage hit, slowly evolves into a talky and generally tedious romantic exercise, dropping the semi-satirical stance that brightens up the early going.
  28. Girls of the Sun
    Clearly the director’s positive impressions from her research made her want to create something that would generate popular sympathy for the cause, but writing a glorified TV movie wasn’t the way to go.
  29. Final Cut
    It’s a messy and annoying one-joke movie that repeats the joke over and over again — and guess what, it was barely funny the first time.
  30. Kuso
    The referentiality of “Kuso,” its general snark, and even its defensive self-criticism (characters state “I hate this movie!” more than once) fail to make it any more funny or inspired, let alone any less of a shapeless chore to sit through.
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