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 Meg
    If there’s a disappointment to The Meg, it’s not just that the movie isn’t good enough. It’s that it’s not bad enough.
  2. Nerdland
    With a scuzzy style to match its sleazeball vision of spotlight desperation and depravity, this Tinseltown satire — led by voice work from Paul Rudd and Patton Oswalt — revels in the foulness of 21st-century pop culture, albeit to a degree that’s ultimately both exhausting and redundant.
  3. Generation Startup
    Generation Startup is too blurry about the grass-roots wheeling and dealing it shows.
  4. Speech & Debate
    Though energetically shot and blessed with some appealing performances (including winningly strange cameos for theater darlings Lin-Manuel Miranda and Darren Criss), Speech & Debate never manages to make a convincing case for itself.
    • 46 Metascore
    • 60 Critic Score
    Death Wish 4: The Crackdown
    What raises Death Wish 4 above the usual blowout is a semi-engaging script and sure pacing by veteran action director J. Lee Thompson.
  6. 1:54
    1:54 intends to be a straight-shooting social drama about the multifaceted problem of bullying in the digital age, but it’s out of touch with how real teenagers think and act and communicate. It’s a modern film that feels like a relic.
  7. Caught
    Instead of emphasizing tense action and atmosphere — the usual limited-budget solutions — the filmmakers here seem to think having their characters nervously chatter on about their situation in reams of clumsy dialogue will do the trick. It does not.
    • 46 Metascore
    • 30 Critic Score
    The End
    Production is a tasteless and overripe comedy that disintegrates very early into hysterical, undisciplined hamming.
    • 46 Metascore
    • 40 Critic Score
    A Man Called Horse
    A Man Called Horse is said to be an authentic depiction of American Indian life in the Dakota territory of about 1820. Authentic it may be, but an absorbing film drama it is not.
    • 46 Metascore
    • 40 Critic Score
    Foxy Brown
    Even by the gutter-high standards of the genre, Foxy Brown is something of a mess. Jack Hill’s screenplay has peculiar narrative gaps.
  11. Cold Brook
    There’s no complexity to anyone or anything here. Even the hint of family conflict in the portrayal of our heroes’ children as bratty teens goes nowhere in the director and Cain DeVore’s screenplay, which at times teeters on the edge between simple and simple-minded.
    • 46 Metascore
    • 70 Critic Score
    Futureworld
    Futureworld is a strong sequel to Westworld in which the rebuilt pleasure dome aims at world conquest by extending the robot technology to duplicating business and political figures.
    • 46 Metascore
    • 30 Critic Score
    Five Days One Summer
    An attempt at an intimate personal drama that just doesn't come off, Five Days One Summer is so slow that it seems more like Five Summers One Day.
  14. Resort to Love
    To say that Resort to Love is slight would be akin to snatching a romance novel out of your closest friend’s hands while she sits reading and sipping a margarita on a beach. Why would you do that? It’s summer. Leave the girl her pleasures.
  15. Joker: Folie à Deux
    Joker: Folie à Deux may be ambitious and superficially outrageous, but in a basic way it’s an overly cautious sequel.
  16. Marcello Mio
    Marcello Mio winds up saying very little about industry power structures, or even about the barbed nature of celebrity.
  17. Gabby's Dollhouse: The Movie
    The movie, make no mistake, is a genial throwaway that skitters through incidents with a G-rated innocuousness that makes it perfect for a very pint-sized demo. Yet the design of it is captivating, and so, in a minor way, is the affection with which the film’s director, Ryan Crego, embraces childhood things.
  18. Project X
    This game-changing instant classic will doubtless inspire imitators, onscreen and in backyards everywhere, en route to redefining what a new generation expects of its mice-will-play movies.
  19. Another Happy Day
    Mistaking over-the-top dysfunctional family cruelty for comedy and drama, Another Happy Day tries and fails to channel "Rachel Getting Married" in its protracted tale of a wedding-party weekend that turns predictably from scabrous to redemptive.
  20. Irish Wish
    As a rom-com, Irish Wish is more than willing to kiss the Blarney Stone. Yet the chemistry of Lohan and Speleers makes it watchable enough to get by.
    • 46 Metascore
    • 60 Critic Score
    The River
    Stripped down to the bare essentials few people actually ever come into contact with, pic remains a rather private ordeal observed from the outside looking in. There is a victory at the end, but not a sense of lasting triumph.
  22. Rambo
    Stallone (who looks fit but mostly keeps his shirt on) has no intention of bogging the action down, but it's still a notably cheerless exercise, without knowing winks or stabs (pardon the expression) at humor. It is in all respects, rather, a completely workmanlike effort.
  23. American Mary
    This tale of a violently disillusioned medical student’s wade into the weird world of extreme body modification doesn’t develop all its narrative and thematic ideas to the fullest. But the polished pic is still outre and entertaining enough to please most jaded horror fans.
  24. Beyond Skyline
    There’s scant room for characterization, and when the dialogue isn’t banal or cringe-inducing, it aims for generic smirking-wiseguy quippage. No matter: The performers rise ably to what are primarily physical (rather than “acting”) demands, the energy level is fairly non-stop, and there’s a lot of visual stimulus to keep idle minds further occupied.
  25. Beerfest
    Such fare plays better on DVD, where the best moments can be absorbed in bite-sized bits and the debris easily bypassed.
  26. The Break-Up
    Sporadic rays of sunshine emanate from the broad and gifted supporting cast, but the core story is almost relentlessly unpleasant, like sitting through a dinner party where the host couple does nothing but bicker.
  27. The Last Days on Mars
    While it earns high marks for Jon Henson’s production design, this murkily derivative sci-fi-horror entry sets its sights disappointingly low in terms of story and ideas.
  28. Knight and Day
    A high-energy, low-impact caper-comedy that labors to bring a measure of wit, romance and glamour to an overworked spy-thriller template.
  29. The Upside
    So little has been done to update or refresh “The Intouchables” for American culture or a new audience that The Upside has no integrity as a separate piece of work. The casting alone is all that’s keeping it from sinking into a cynical act of franchise burnishing.
  30. The Exorcism of Emily Rose
    Some genuine shocks punctuate The Exorcism of Emily Rose, an unusually intelligent genre item that manages to mix full-bore horror with courtroom drama.
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