Variety's Scores

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For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
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  1. 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.
  2. The Great Gilly Hopkins
    While uneven in places, The Great Gilly Hopkins works because it boasts an actress tough enough for the title role.
  3. Godzilla x Kong: The New Empire
    The director, Adam Wingard (who made “Godzilla vs. Kong”), knows how to choreograph a beastie battle so that it does maximum damage in a way that appeals to your inner toy-smashing seven-year-old.
  4. The Game of Their Lives
    Picturesque pic, however, lacks even a penalty kick's worth of tension and is paradoxically inert for a movie about guys running up and down the pitch for the glory of the U.S.
  5. Maniac
    This merciless work of anti-entertainment is arguably admirable for being as disturbingly disgusting as it wants to be.
    • 47 Metascore
    • 80 Critic Score
    The General's Daughter
    The cinematic equivalent of a disposable airplane read, a hokey, kinky military thriller that's twisty and compelling enough to hook viewers in the mood for a trashy good time.
  7. Open Windows
    A fiendishly inventive thriller built around an audacious if unsustainable gimmick, Open Windows elevates Hitchcockian suspense to jittery new levels of mayhem and paranoia.
  8. A Boy Called Po
    Noble intentions alone do not a great movie make, as evidenced by Po, whose heart is in the right place but whose drama is woefully lacking in momentum.
  9. Common Ground
    This broadness of info only means the Tickells remain surface-level on most topics. Their Common Ground only teases but doesn’t dig deep enough into the intersection of racism and capitalism that brought us to today.
  10. Heaven Is for Real
    Those willing to engage may be pleasantly surprised by some of its understated virtues.
  11. The Giver
    The Giver reaches the screen in a version that captures the essence of Lowry’s affecting allegory but little of its mythic pull.
  12. Wyatt Earp
    If you're going to ask an audience to sit through a three-hour, nine-minute rendition of an oft-told story, it would help to have a strong point of view on your material and an urgent reason to relate it. Such is not the case with Wyatt Earp, a handsome, grandiose gentleman's Western that tries to tell evenhandedly more about the famous Tombstone lawman than has ever before been put onscreen.
  13. Monogamy
    A painfully dull plunge into the suffocating self-absorption that seems to be killing modern romance.
  14. Alice
    The power of the film — and of Palmer’s phenomenal performance — is watching Alice grow into her voice.
  15. The Alto Knights
    If there was any doubt as to De Niro’s greatness, it’s laid to rest in these face-to-face confrontations. No star could’ve held his own quite so effectively against De Niro.
  16. Empire Records
    A soundtrack in search of a movie, Empire Records is one teen-music effort that never finds a groove.
  17. Metropia
    The characters at first seem photorealistic, but their faces barely move. There are good, basic sci-fi ideas in the script, but they're not satisfyingly developed.
  18. Spring Fever
    Overlong and very Euro-flavored.
  19. Dosed
    This is a subject that deserves a rigorous documentary exploration, like Alison Klayman’s must-see psychotropic exposé “Take Your Pills.” But Dosed isn’t that kind of movie.
  20. Blair Witch
    Setting up a number of promising kinks in the now-standard found-footage formula, as the seemingly spooked forest begins to close in its hapless victims, Blair Witch disappointingly casts most of them aside for a finale that does little to advance the series’ existing mythos.
  21. The Skeleton Key
    Stirring up a humid Gothic mood and amassing a gifted roster of actors, The Skeleton Key is unable to ward off the nasty spirits of formula screenwriting.
  22. Hotel Transylvania
    A stale overprotective-dad story set within a location that could easily house a more inspired mix of characters and events.
  23. Rock of Ages
    Absent the infectious live-audience energy of Chris D'Arienzo's legit hit, this affectionate glam-rock-a-thon reps a visually bland staging of frankly insipid material, never tapping into the raucous, go-for-broke energy that would spin the show's cliches into gold, let alone platinum.
  24. A Teacher
    As first features go, A Teacher demonstrates a willingness to provoke, but doesn’t seem to understand the minimum expectations most audiences place on films in terms of both incident and characterization.
  25. Gunpowder Milkshake
    Men have been gorging on righteous, blood-splattering pulp action rides like this one for decades, and if women are now looking for the equivalent, Gunpowder Milkshake fits the bill. Its message is that there are a lot of Bills to kill.
  26. The X Files: I Want to Believe
    The warming glow of nostalgia only goes so far, with one's level of forgiveness likely dictated by where they reside along the "X-Files" fan continuum.
  27. The Good Guy
    Lacking much of a satirical bite, the pic's quasi-celebration of crude laddishness becomes oppressive.
  28. Like Mike
    The court action contains only a fraction of the hoops energy one would expect from a pic co-produced by NBA Entertainment -- and film suffers from the conspicuous absence of the title's Michael Jordan.
  29. Hollywood Homicide
    An attempt to merge a semi-jokey buddy movie with a more realistic account of cops' messy private lives, Hollywood Homicide falls short on both counts.
  30. U.S. Marshals
    Stuart Baird's new thriller is inferior to the Andrew Davis movie in every respect: script, acting, rhythm and even tech credits.
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