Variety's Scores

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For 17,771 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 2.5 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: 9,130 out of 17771
  2. Mixed: 7,005 out of 17771
  3. Negative: 1,636 out of 17771
17771 movie reviews
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  1. Sly
    Throughout the film, he’s so calmly but blazingly articulate, so candid about the processes of moviemaking and his strengths (and weaknesses) as an actor, so wise about the meaning of his own stardom, that I realized, with a touch of embarrassment, a prejudice I’ve been carrying around for 47 years. Deep in my reptile brain, I still think Sylvester Stallone is Rocky.
  2. Radical Wolfe
    It’s a highly entertaining movie that manages to pack in more or less every important thing you’d want to know about Tom Wolfe.
  3. Invisible Beauty
    Invisible Beauty will likely make you hungry for Hardison’s book. But in a twist, one might wonder, can it be as good as the movie?
  4. Outlaw Johnny Black
    The new film nonetheless provides more than a few good laughs, even when it seems to be taking horse opera clichés a tad too respectfully, and showcases a fine cast of actors dedicated to both the silliness and the seriousness of the enterprise.
  5. Knox Goes Away
    Knox Goes Away doesn’t traffic in comedy — or exaggerated reality. In addition to being a noir that holds you exactly the way a noir should, it may be one of the best dramas about dementia I’ve ever seen.
  6. Pain Hustlers
    Pain Hustlers takes an off-putting mock-documentary approach to this tragedy, focusing on a handful of sleazebag salespeople who bent the rules to incentivize doctors to prescribe Lonafin (the film’s fictional Subsys substitute) first for treating cancer pain, and later for conditions as mild as migraines.
  7. The Burial
    Director Maggie Betts has a rousing old-school crowd-pleaser on her hands with this truth-based (albeit strategically embellished) drama featuring the most entertaining performance yet from Jamie Foxx, who makes a day in court feel like going to church.
  8. One Life
    Although the film as a whole struggles to match the poignancy of its finale . . . it nevertheless serves as an urgent reminder of the importance of individual action at a time when the world refugee crisis is at a scale not seen since the Second World War.
  9. Janet Planet
    It’s striking proof of an original sensibility.
  10. Next Goal Wins
    The idea is to have a good time, and Waititi knows how to give audiences that.
  11. Dream Scenario
    Is this a fantasy? A fable? A new kind of horror movie? Actually, Dream Scenario is all of the above and then some, for it also shares a certain postmodern DNA with two of Cage’s most boundary-pushing movies, “Adaptation” and “The Unbearable Weight of Massive Talent.”
  12. American Fiction
    The helmer trusts his audience to bring themselves to the material. Ultimately, that’s what makes reading “American Fiction” so rewarding.
  13. Memory
    Memory invites debate, rather than imposing a specific interpretation. It’s also a film that lingers, shifting and expanding in significance, even as the details start to blur.
  14. Io Capitano
    Me Captain is surprisingly classical in construction and style, wisely guiding our attention away from its sure directorial touch and toward the story at hand — pieced together by a small army of screenwriters and collaborating contributors from first-hand migrant accounts.
  15. A Haunting in Venice
    Playful turns from a shrewdly selected supporting cast elevate the case from just another murder mystery to suitably arch gothic horror.
  16. Dumb Money
    [A] smart, light-fingered, brashly entertaining finance-world docudrama.
  17. Enea
    The director himself has described the film as a “genre story without a genre,” and as such Ena effectively mirrors its protagonist’s equal detachment from all facets and possibilities of his fabulously floundering life. In theory, this makes sense. Dramatically, however, it’s a dead end, unaided by sporadic, leaden stabs at farce and whimsy.
  18. Green Border
    While you’re still in the vice-like grip of its multilevel narrative it may not feel like it, but a film like Agnieszka Holland’s bruisingly powerful new refugee drama ultimately comes from a place of optimism.
  19. The Universal Theory
    An overlong but enjoyable metaphysical thriller that delivers pastiche so meticulous it becomes its own source of supremely cinematic pleasure.
  20. Adagio
    While the craft team here feel at the top of their game, delivering scene after scene of perfectly composed glossy, grimy, sweaty tableaux, the script could have used a bit more time to sharpen up. Still, there are some zingy, zesty sequences here that really pop.
  21. Finally Dawn
    One can sense what Costanzo’s trying to do, but he’s made a fatal miscalculation: Mimosa is not leading lady material, and 140 minutes is far too long to spend pretending otherwise.
  22. The Promised Land
    Notionally rooted in historical fact, but embellished with storybook romance and flouncing cartoon villainy, this roundly enjoyable Venice competition entry finally owes all its residual gravitas (and at least half its considerable handsomeness) to the expressive woodcut visage of one Mads Mikkelsen.
  23. Dicks: The Musical
    "Dicks” is an unapologetically puerile, hard-R novelty that’s just lo-fi enough to maintain its underground cred.
  24. Origin
    The film will get people thinking and talking. The way DuVernay directs it, Origin is a swirling tornado of ideas.
  25. The Boy and the Heron
    Better to think of The Boy and the Heron as the bonus round — a worthy but mid-range addition to a remarkable oeuvre that expands his filmography without necessarily topping it.
  26. My Big Fat Greek Wedding 3
    This threequel is surprisingly lifeless and almost laugh-less.
  27. Sitting in Bars with Cake
    Where Jane feels thinly sketched in pastels, Corrine’s portrait has been detailed in bright permanent markers. A’zion roils with emotions and her character is funny, mercurial, reactive and real.
  28. The Nun II
    In some respects an improvement on its predecessor, in others not, this is finally one more good-enough if unmemorable entry sure to extend the series’ life in lucrative fashion.
  29. Rotting in the Sun
    With its tricky tone and its wildly ambitious themes, it’s not surprising to find Silva’s outrageous, salacious film stumbling as it brings its many threads into focus. Like Sebastián’s art and his journal in the film, Rotting in the Sun remains a patchwork of quotes and ideas and provocations hastily if hilariously stitched together.
  30. DogMan
    Maybe Dogman would be salvageable if Besson didn’t feel the need to thuddingly explain every single aspect of Doug’s quirk-laden personality, as though every last thing that a person is can be traced in a straight line back to a cause, because psychology is a long division sum that never leaves a remainder.
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