Variety's Scores

For 17,786 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:
17786 movie reviews
  1. Handles the subject of domestic violence with intelligence and compassion.
  2. More than in her previous tales of dysfunctional families like "Marriages," she (Comencini) lightens the weight of angst with well-designed subplots, secondary characters and moments of tender humor.
  3. Strikes some resonant chords but also hits notes that simply don't ring true and are borderline risible at times
  4. An unforgettable journey through hell under the earth, where Satan is worshipped as king. Straight-as-an-arrow filmmaking raises this docu above the crowd.
  5. Superbly modulated yet unrelentingly grim, Mirage builds upon a remarkable performance from young Macedonian newcomer Marko Kovacevic to tell the tragic tale of a talented schoolboy driven to violence through neglect and manipulation.
  6. Intriguing and surprisingly witty.
  7. Though it can't hide occasionally crude dramatics, pic is an undeniably bold and daring tragedy.
    • 41 Metascore
    • 50 Critic Score
    An apt follow-up to the two Matthew Shepard-themed movies that aired on TV in 2002.
  8. Fascinating glimpse into wholly different body of laws, engrossingly evolving script and standout performances.
  9. An especially slight romantic comedy whose modest charms are derived largely from its supporting players.
  10. Besides proving to be a faithful mimic of Craven's filmmaking, Aja pours on the gore. But where Aja's version really leaps beyond Craven's both atmospherically and on the violence scale is in the second hour.
  11. This fur-fetched tale is bearable family viewing.
  12. Highlighted by a strong and sensual performance from Salma Hayek as the doomed heroine, elegant pic's muted quality and the central character's vexingly contrary behavior will keep auds from connecting with characters who themselves have trouble establishing bonds.
  13. This slight but appealing film's funky eccentricity feels a little contrived at times.
  14. Though it's decidedly for perverse palates, some kind of cult audience seems assured for this one-note onslaught, which exercises a bizarre fascination despite its excesses.
  15. Evil is not, as the title would suggest, a horror film, at least not a conventional one. Based on the autobiographical novel by Jan Guillou and set in the mid-1950s, the film relates the experiences of a troubled young man who's enrolled into a hidebound private school.
  16. Game 6, the first screenplay by one of America's great living novelists, Don DeLillo, is poorly served by Michael Hoffman's flat, soporific direction.
  17. There's no denying the pic's overall impact as a compelling study of art as a source of transcendence. And it will come as no surprise if this well-crafted doc eventually serves as source material for a dramatic feature.
  18. Scores big in the first few minutes with its atmospheric lensing of the protag's literal separation into two distinct characters, but then settles into a standard psycho-killer payback drama.
  19. Not that it ever rises to the level of Sidney Lumet's Gotham police pics ("Serpico," "Prince of the City"), but 16 Blocks does raise the banner for the tradition of the textured urban cop drama, spurred by action but made substantial by characters at crossroads.
  20. Result is an unusually likeable family-friendly comedy.
  21. A heady spirit of spontaneity permeates the proceedings, suggesting the entire pic, much like the concert it documents, was conceived, planned and completed in a single burst of creative enthusiasm.
  22. Pic is hermetically sealed in a synthetic wrapping that's so total -- Sony's top-flight high-def cameras, visibly low-budget CG work, exceptionally hackneyed and imitative action and dialogue --that it arrives a nearly lifeless film.
  23. Imax 3-D process has lost its original novelty, and little is done in Deep Sea to find new and exciting ways of using the medium.
  24. A period drama marbled with humor, bold gestures and bittersweet consequences.
  25. Taken as a film about muddling along, "Woman" never bores the viewer with indecisive filmmaking. Basically, it's an elegant jeu, played and constructed with an almost Gallic lightness heightened by Jeong Yong-jin's bursts of music, all bouncy piano and pizzicato.
  26. Overall the charm of the film works its spell, and director Kennedy shows confidence in juggling understated comedy and gently sentimental drama.
  27. Proves as entertaining as the earlier "The War Room," which also featured Carville, but is more somber.
  28. Penn looks bewildered in a role that simply doesn't track, but Kechiche rises to the occasion. Stanzler's helming, shot blandly in digital vid, amounts to point-and-shoot.
  29. Viewers unaware of the music --hugely popular among Mexicans -- and the often intensely nationalist sentiments behind it, may blanch at the open chauvinism and celebration of outlaw lifestyles. But part of the pic's strength is its presenting the cultural strain as it is, without comment.

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