Variety's Scores

For 17,777 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:
17777 movie reviews
  1. Without any fuss, Lipitz has made a film deeply rooted in intergenerational relationships between women.
  2. This portrait of the artist as an old woman is a gentle-hearted gem, as profoundly subtle as it is subtly profound.
  3. This ambitious, yet astonishingly well-executed Netflix tentpole directly benefits from the way Ayer’s gritty, streetwise sensibility grounds Landis’ gift for creating an elaborate comic-book mythology.
  4. Funny, warm, and broken-in in all the right ways, Win It All marries Swanberg’s loping, observational style with a plot that wouldn’t have been out of place in an old-school Warner Bros. melodrama, and ends up dealing a surprisingly strong hand.
  5. The Sting has all the signs of a blockbuster. Paul Newman and Robert Redford are superbly reteamed, this time as a pair of con artists in Chicago of the ’30s, out to fleece a bigtime racketeer brilliantly cast with and played by Robert Shaw. George Roy Hill’s outstanding direction of David S. Ward’s finely-crafted story of multiple deception and surprise ending will delight both mass and class audiences. Extremely handsome production values and a great supporting cast round out the virtues.
  6. In another director’s hands, the residents might be labeled “eccentric” and condescendingly depicted for laughs, but Ewan McNicol and Anna Sandilands approach this touch-and-go community with curiosity and humanism, capturing what feels like a deciding moment in a series of struggles so far off the grid, they would otherwise escape our notice entirely.
  7. The movie just about pulses with contemporary resonance.
  8. Tickling Giants is a terrific movie that leaves you cherishing (a little more) the freedom we have, and holding in contempt (a little more) those who would compromise it. Mostly, the movie makes you understand how every society — and ours more than ever — needs people like Bassem Youssef to demonstrate that laughter will always be one of the essential ways to keep power in check.
  9. For a director who emerged from indie film’s so-called “mumblecore” movement, Gemini feels like a grown-up achievement, and the sign of a director with so much more to give in the future.
  10. By the end of I Am Another You, what starts off as a celebration of reckless freedom turns into a revelation of a broken yet soaring soul: the story of a life that resists being judged as much as it does being pigeonholed.
  11. Kent’s elemental revenge tale attains a near-mythic grandeur over the course of its arduous, ravishing trek. Some stricter editing wouldn’t go amiss, particularly in a needlessly baggy, to-and-fro finale, but it’s a pretty magnificent mass of movie.
  12. People don’t forget a performer like Redford, whose movie-star charisma idles low and sexy like a Harley Davidson motor even when he’s not doing anything, and that means a movie like David Lowery’s The Old Man & the Gun — a dapper, low-key riff on the bank-robber genre — can play things soft, counting on Redford’s charm to fuel the show.
  13. With no shtick to fall back on, Sandler is forced to act, and it’s a glorious thing to watch.
  14. Devos depicts stages of grief not as a series of emotions but as an evolving alchemy of perception that surrounds the protagonist, distorting time, space, color and light in patterns of dislocation, muffling the synapses that connect sounds and images.
  15. Everything Harry Dean Stanton has done in his career, and his life, has brought him to his moment of triumph in “Lucky,” an unassumingly wonderful little film about nothing in particular and everything that’s important
  16. Slee’s film boasts such a high level of writing, acting, and overall production polish that youngsters may be fooled into thinking they’re watching a mindless blockbuster, when in fact, they’ve actually been fooled into thinking.
  17. Driven by both empathy and a passion for justice, “How to Survive a Plague” director David France’s stellar documentary charts an investigation into the still-unsolved death of trans icon Marsha P. Johnson, along the way illuminating the persistent discrimination that exists today, and the bonds of community designed to counter it.
  18. [A] sprawling, thrilling, finally heart-bursting group portrait of Parisian AIDS activists in the early 1990s.
  19. The film beguiles with its bravura but it’s a deliberately punishing journey, made by a male Cassandra impelled to point out his nation’s destruction yet sadly aware that it’s too late to change the tide of history.
  20. A powerful and important documentary.
  21. It’s this strange alchemy — the way that a terse script can leave so much unsaid, combined with such a talented ensemble’s ability to suggest all the details left either in silence or in darkness — that makes “Sweet Virginia” such a haunting character study.
  22. Although the TV ads and other promotional material appear to promise a megaplex-ready thrill ride about space invaders and rebellious Earthlings, this rigorously intelligent, cunningly inventive, and impressively suspenseful drama plays more like a classic tale about a disparate group of resistance fighters united in a guerrilla campaign against an occupying force.
  23. Hall’s performance — tender, tough, empathetic, controlled — crumples from tears to laughter in a blink. It’s phenomenal.
    • 56 Metascore
    • 90 Critic Score
    Excalibur is exquisite, a near-perfect blend of action, romance, fantasy and philosophy, finely acted and beautifully filmed by director John Boorman and cinematographer Alex Thomson.
  24. The dramatic aesthetic of a movie like Loveless — rock-solid yet leisurely in its observance, grounded yet metaphorical — makes it a quietly commanding film.
  25. As you watch the movie, its central idea — that Jeffrey Dahmer wasn’t just born, he was made; that he started off as an actual human being — has a shocking validity that never undercuts the extremity of his crimes.
  26. Who wouldn’t want a picturesque trip to the French capital that delivers more laughs than a nitrous oxide leak near the hyena compound? In fact, I’d go as far as to promise that Lost in Paris offers the three most delightful sight gags you’ll see on screen all year.
  27. Perfectly small rather than slight, and radiantly carried by Juliette Binoche — in a light-touch tour de force to be filed alongside her work in Kiarostami’s “Certified Copy” — this turns out to be a subtler departure than it outwardly appears for Denis, most evoking her other Parisienne drifting-hearts study, “Friday Night,” in its bittersweet tone.
    • 97 Metascore
    • 90 Critic Score
    Perhaps the motivations of each juror are introduced too quickly and are repeated too often before each changes his vote. However, the film leaves a tremendous impact.
  28. Ava
    Mysius’ startlingly assured, exquisitely shot “Ava” is a film that doesn’t simply explore the textural possibilities of 35mm film for the hell of it, it makes thematic use of them, to stunning, evocative effect.

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