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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    • 51 Metascore
    • 90 Critic Score
    Quigley Down Under
    Quigley Down Under is an exquisitely crafted, rousing western made in Oz.
  2. Private Peaceful
    One more story about how the Great War’s casual disdain for human life planted the seeds for the social unrest that followed, the defiantly old-fashioned Private Peaceful nevertheless succeeds in hitting the right emotional notes, with a handy assist from Rachel Portman’s score.
  3. My Bloody Valentine
    At heart an unabashedly retro work, reveling in the cliches and conventions of the slasher horror pics that proliferated in the early 1980s.
  4. Savage Grace
    Scripter Howard A. Rodman's treatment of an enthralling book is more a series of vignettes rather than a fully connected work, and helmer Tom Kalin seems unable to decide how much Sirkian melodrama to introduce into the heady mix. Gone are the reasons to be fascinated with these people, merely replaced with maddeningly over-arch dialogue and struggles with characterization.
  5. Creation
    Isn't about science vs. faith so much as that well-worn dramatic hook, the loss of a child.
    • 51 Metascore
    • 20 Critic Score
    Look Who's Talking
    Like a standup comic pouring 'flopsweat', this ill-conceived comedy about an infant whose thoughts are given voice by actor Bruce Willis palpitates with desperation.
  7. Mad Cowgirl
    The point is not very clear, but there's an impressive weirdness to Mad Cowgirl that elevated it above more strained attempts at transgressive cinema.
    • 51 Metascore
    • 60 Critic Score
    No Small Affair
    No Small Affair is an okay coming-of-age romance [from a screen story by Charles Bolt] in which the believability of the leading characters far outweighs that of many of the situations in which the script places them.
  9. A Man Called Otto
    The movie is trying so hard to be a crowd-pleaser, in its reach-for-the-synthetic, sitcom-meets-Hallmark heart, that it will likely end up pleasing very few. It’s the definition of a movie that Tom Hanks deserved better than.
  10. Me Before You
    A melodrama with soft-rock ballads where its beating heart should be.
  11. Free Zone
    Amos Gitai's most satisfying pic since war drama "Kippur." Schematic set-up is given a human face by fine performances and a physical journey that's often more interesting than the characters' emotional ones, which are weakened by the Israeli auteur's tendency toward convenient doctrinaire-ism and chunks of expository dialogue.
  12. The Fountain
    Suffered from production fits and starts and reportedly has been cut down from a longer running time to a still tedious and repetitious hour and a half.
    • 51 Metascore
    • 40 Critic Score
    Any Which Way You Can
    Any Which Way You Can is a benign continuation of Every Which Way But Loose. Original ape from Loose was not available to Eastwood here, but substitute performs heroically.
  14. The Woman in the Yard
    The Woman in the Yard never musters the imagination to horrify or even jolt you. It’s a tale of one-note inner demons.
  15. Wounds
    Anvari has set out to make a mood piece that succeeds in scaring the audience senseless.
  16. Eros
    What might have been a cinephile's wet dream turns out instead to be seductive, stimulating and sodden, in that order, in the three-chapter reflection on love and desire.
  17. Karate Kid: Legends
    It’s a movie that’s unapologetically basic and wholesome and, at 94 minutes, refreshingly stripped down. In its formulaic way, it works as an antidote to the bloat and clutter of your average “high-powered” teenage/kiddie flick.
  18. Izzy Gets the F*ck Across Town
    It’s uneven practically by design, with a tone that slides all the way from kooky farce to anguished psychological study, just about held together by Mackenzie Davis’s lively, spiky turn in the lead.
  19. Cowboys & Angels
    Pic drifts onto a familiar obstacle course for its wide-eyed hero, but displays a spirited, open-hearted goodness along the way. Combination of warmth, humor, danger and a cosmopolitan take on young, urban Eire sets pic distinctly apart.
  20. Jay and Silent Bob Strike Back
    This represents at least as much of an artistic setback for Smith as "Chasing Amy" and "Dogma" were advances.
    • 51 Metascore
    • 30 Critic Score
    Barbarella
    Despite a certain amount of production dash and polish and a few silly-funny lines of dialog, Barbarella isn’t very much of a film. Based on what has been called an adult comic strip, the Dino De Laurentiis production is flawed with a cast that is not particularly adept at comedy, a flat script, and direction which can’t get this beached whale afloat.
    • 51 Metascore
    • 70 Critic Score
    Heavy Metal
    Courtesy of a vastly overlong, relatively unrousing 27-minute end-piece that may be the technical highpoint of the film, but lacks the punch and tightness of the earlier segments, the venture tends to run out of steam. Still, the net effect is an overridingly positive one.
  23. Pretty Lethal
    Pretty Lethal is a wonderfully original idea, but its execution falls flat.
  24. The Loss of a Teardrop Diamond
    The fragrant aroma of magnolias is undercut by the distinct smell of mothballs throughoutThe Loss of a Teardrop Diamond, an admirably earnest but curiously flat attempt to film a long-unproduced scenario by Tennessee Williams.
    • 51 Metascore
    • 70 Critic Score
    Ishtar
    Enter Charles Grodin, who upstages all involved via his savagely comical portrayal of a CIA agent.
  26. The Accountant
    The Accountant is nothing if not a puzzle — not so much a jigsaw as a three-dimensional brain teaser that gets deeper and stranger with each new revelation.
  27. I Think We're Alone Now
    Once I Think We’re Alone Now establishes that Grace and Del represent love versus stability, the film doesn’t have a convincing way to reconcile the two.
  28. Jim Brown: All American
    A model of cohesion and clarity as long as it's dealing with Brown's exemplary public achievements. However, pic quickly becomes mired in tedium and confusion when it turns to Brown's scandal-ridden private life.
    • 51 Metascore
    • 70 Critic Score
    Ice Castles
    Ice Castles combines a touching love story with the excitement and intense pressure of Olympic competition skating.
  30. Trolls World Tour
    Yet for all its surface pleasures, it’s a likable but underimagined one, with more enthusiasm than surprise and, at the same time, an overprogrammed sense of its own thematic destiny.
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