Variety's Scores

For 17,831 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:
17831 movie reviews
  1. Dancy manages a few sly moments, and Everett is as ever a scene-stealer, if barely recognizable under a beard and altered features, and with a raspy voice. But the estimable Pryce and Jones are wasted, along with many other fine thesps, while Gyllenhaal works too gratingly hard in an already strained role.
  2. Though conceptually intriguing, the mix of downward drug spiral with uphill struggle for good never really coalesces.
  3. Euro-financed production throws large chunks of change at a corporate espionage saga spanning several continents, yet most of the money seems to have landed in locations, with too little allocated to the script and stunt departments.
  4. Again co-written by and co-starring writer-thesp Richard Debuisne, picture has some of the duo's trademark sharp dialogue but again fails to fully come together on a narrative level.
  5. Chasing Madoff is a useful reminder that all is far from well with our financial institutions, which continue to lobby for less regulation rather than more. But the human element of the film is so weirdly distracting it often deflects from its primary target.
  6. This handsomely mounted picture is, at nearly 2 1/2 hours, far too long and indigestible for a film whose protagonist spends most of her screen time under house arrest.
    • 53 Metascore
    • 50 Critic Score
    Well-mounted Chinese-Hong Kong martial-arts co-production Shaolin elevates enlightenment above brute strength, but weak helming undercuts the pic's punch.
  7. Beautifully assembled, but emotionally inert despite its focus on bereavement and love's endurance, Russian art film Silent Souls reps at the very least a significant step up for its helmer, Aleksei Fedorchenko.
  8. Watching Limelight, about the rise and politically engineered fall of onetime Manhattan nightclub kingpin Peter Gatien, is like looking through a family album: If you're in the family, you might be interested.
  9. There's a potentially fascinating and appreciably more concise 60-minute documentary to be found somewhere amid the uneven and unfocused 88-minute hodgepodge that is Echotone.
  10. Veering crazily in tone, Inside Out might fail to catapult its star into wider acceptability, but should delight fans of lightly absurd actioners.
  11. It's an easy watch that nonetheless consistently feels like a grazing blow rather than a knockout.
  12. The picture sports a strong lead cast but is diminished by TV-style helming and production qualities.
  13. Step Up Revolution, the fourth entry in the venerable dance franchise, is a narrative failure but a triumph of sheer spectacle.
  14. Campbell's career and influence encompass much wider fields of interest than are considered here, despite the picture's colorful surface. Narrowing its focus to the simplest inspirational gist, with zero insight into the man behind it, Finding Joe winds up seeming like an infomercial for a personal-growth program.
  15. Dave Boyle's picture is fueled by no overriding visual style, relying completely on its actors' chemistry for momentum. Unfortunately, the two strike no sparks.
  16. Tim Wolff's documentary is a diverting mix of colorful interviewees and footage from one such krewe's 40th anniversary ball, but it doesn't probe very deep.
  17. Like one of those kitchen machines that can turn nearly any ingredient into ice cream, Lasse Hallstrom has sweetened the satire right out of Paul Torday's side-splitting political sendup Salmon Fishing in the Yemen.
  18. The tale of a pickpocket's redemption through love, plus a vengeance-seeking cop and assorted betrayals, Loosies weakly channels Sam Fuller's "Pickup on South Street" but without the explosive action, iconic thesping and stylistic punch.
  19. Much of the film is marked by a sense of dead air, owing to the fact that there's not a lot of story, but nevertheless, per Bollywood conventions, a lot of time to fill.
  20. The outstanding big-wave footage proves more credible than the overfamiliar dramatics in Chasing Mavericks.
  21. An epic showcase for mediocre CGI and slapdash screenwriting.
  22. Leiser flexes his animation muscles with a bewitching stop-motion technique, but it proves a poor fit with a scattershot storyline that includes quasi-interview and improv segments that never coalesce into a coherent whole.
  23. Picture narrowly avoids outright bathos, thanks largely to first-rate perfs by its child thesps and by Ray Liotta. But by self-righteously rejecting facile solutions, then employing them anyway in the tradition of "no ending left behind," the result conforms to parents' old-fashioned notions of kid movies rather than demonstrating true kid appeal.
  24. Although a massive hit at home, taking approximately $16 million at the wickets, this great-looking but tonally uneven pic won't jive with audiences quite so well anywhere else.
  25. A potential menage a trois of terror is served up as rather weak tea in Retreat, which fails to make its alleged suspense, thrills or even its mist-enshrouded landscapes particularly plausible.
  26. Competent but juiceless New York melodrama, an unpersuasive marriage of head-slamming action and middling civic intrigue that treats issues like gay rights and public housing as red herrings rather than actual talking points.
  27. Buday's astrology-themed romantic comedy boasts a promising premise, convincing chemistry between its attractive leads and fine thesping by a defensively edgy Jena Malone. But the uneven script, repetitive tropes and over-indulgence of actorly bits slow the pace, tipping youthful casualness into complacency.
  28. Taking liberties with journalist Neil McCormick's memoir to create narrative tension, screenwriters Simon Maxwell and prolific scribe team Dick Clement and Ian La Frenais ("The Commitments") overstuff the story with subplots and trite character arcs.
  29. Great for ADD-style viewing but not for advancing Iranian cinema's currently challenged profile.

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