Variety's Scores

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For 17,828 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: 9,160 out of 17828
  2. Mixed: 7,031 out of 17828
  3. Negative: 1,637 out of 17828
17828 movie reviews
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  1. Walking with the Enemy
    Made with obvious passion and drive, but also a nagging predilection for Holocaust-drama cliches.
  2. Trust Me
    Mixing comedy, drama, satire and noir, the Marvel actor’s second outing behind the camera plays for the same kind of uncomfortable laughs that his 2008 dramedy “Choke” did, but this one gazes so deeply into Hollywood’s navel that, with the affable Gregg in practically every scene, it ultimately can’t escape the whiff of a vanity project.
    • 90 Metascore
    • 50 Critic Score
    Paths of Glory
    While the subject is well handled and enacted in a series of outstanding characterizations, it seems dated and makes for grim screen fare.
  4. All Cheerleaders Die
    It’s a fond, briskly diverting homage, but not a truly inspired one.
  5. V/H/S: Viral
    While the scares are in short supply, there’s a surfeit of macabre, tongue-in-cheek creativity to be found here.
  6. Good People
    Both stars are in agreeable if uncharacteristically muted form, doing little to distinguish Genz’s pic from any amount of formula-following filler in the same B-movie ballpark.
  7. Citizen Koch
    Some material in the docu feels repetitive or unnecessary. But the main problem is that “Citizen Koch” simply juggles too many themes and narratives to cohere. The result is largely compelling in the moment, but unsatisfying as a whole.
    • 62 Metascore
    • 50 Critic Score
    Chances Are
    A potentially charming premise yields only a handful of chuckles.
  9. In the Name of My Daughter
    A mobster movie without whackings, a thriller without suspense and a courtroom drama without resolution, this turgid retelling of an unsolved missing-persons case functions mostly as a portrait of a young woman who loved too passionately and the manipulative creep incapable of reciprocating her affections.
  10. The Odd Way Home
    Its essential contrivance works against the earnest emotions it’s aiming for.
  11. Nothing Bad Can Happen
    Skillfully made first feature by writer-director Katrin Gebbe has some undeniably striking passages and performances, but ultimately spirals toward a gruesome third act that is no less monotonous for supposedly being based on true events.
    • 46 Metascore
    • 50 Critic Score
    Weird Science
    Hughes’ true gift is at capturing the naturalistic rhythms and interaction between the boys with a great ear for dialog. Le Brock is just right as the film’s calm but commanding center.
  13. The Client
    The Client is a satisfactory, by-the-numbers child-in-jeopardy thriller that will fill the bill as a very commercial hot weather popcorn picture.
    • 69 Metascore
    • 50 Critic Score
    A League of Their Own
    Penny Marshall’s gangly fourth film benefits from a fresh, unusual subject, the joy of baseball being played by women having the time of their lives and a wonderful central performance by Geena Davis. Downside includes contrived plotting, obvious comedy and heart-tugging, some hammy thesping and a general hokiness.
    • 51 Metascore
    • 50 Critic Score
    Uncle Buck
    John Hughes unsuccessfully tries to mix a serious generation gap message between the belly laughs in Uncle Buck, a warm-weather John Candy vehicle.
  16. This Is Not a Ball
    Muniz uncovers a raft of intriguing people and stories, with subjects ranging from sports to astrophysics, gender politics, history and developmental psychology, but he never sits still with them long enough to ask any probing questions, and the film never arrives at any real point.
  17. Joy
    Despite another solid performance from Jennifer Lawrence, anchoring Russell’s sincerely felt tribute to the power of a woman’s resolve in a man’s world, it’s hard not to wish Joy were better — that its various winsome parts added up to more than a flyweight product that still feels stuck in the development stage.
  18. 4 Minute Mile
    Engaging performances by the principal players, including Richard Jenkins as a legendary coach beset by personal demons, are almost enough to win the day, but in the end, the cliched narrative is too slight to put the picture over the finish line.
  19. Video Games: The Movie
    Video Games: The Movie is content to celebrate without much insight.
  20. About Alex
    Neither the script’s up-to-the-minute signifiers nor its cheekily self-aware humor can entirely dispel a formulaic feel.
  21. Me and You
    Ultimately, such a stir-crazy two-hander can only be as interesting as its actors.
  22. Da Sweet Blood of Jesus
    Da Sweet Blood of Jesus is at once too much and yet somehow not enough. On the one hand, it’s exciting to see the always envelope-pushing Lee working without a studio- or distributor-imposed safety net... But while the film never lacks for ambition, it fails to satisfy emotionally or intellectually in the ways Lee intends.
  23. Han Gong-ju
    For some time, the pic holds interest while constantly frustrating curiosity with the way it parses out information, but soon after the midway point the game becomes tedious, and attention slackens considerably even as Gong-ju’s ordeal becomes clear.
  24. The Green Prince
    An extraordinarily engrossing tale becomes an extremely uncinematic experience in the hands of Israeli documentarian Nadav Schirman.
  25. The Notebook
    Unfortunately, the glowering, non-pro Gyemant twins, who seem to have only one facial expression (and oddly anachronistic haircuts), continually break the spell woven by the other performers.
  26. A Five Star Life
    Maria Sole Tognazzi’s ultra-sedate romantic comedy A Five Star Life is full of aesthetic sophistication and luxurious ambiance, but its pleasures are all secondhand, and the whole endeavor is too starved of incident to really stick in the memory.
  27. Horns
    This overly devout adaptation of Joe Hill’s sacrilegious text benefits from the helmer’s twisted sensibility, but suffers from a case of overall silliness.
  28. Young Ones
    The sophomore effort from Jake Paltrow (“The Good Night”) gets so bogged down in its primal tale of murder and revenge that the most intriguing elements become little more than futuristic window dressing.
  29. Annabelle
    When it comes to Annabelle’s five or six big stinger moments, Leonetti manages to deliver the jolts, and if audiences are sure to head home complaining about how dumb and predictable it all was, many may also find themselves nursing their significant others’ lightly bruised forearms.
  30. Last Weekend
    Its eventual reach for warm-and-fuzzy emotional catharsis rings hollow among characters that never become more than disagreeably shallow products of unexamined privilege.
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