Variety's Scores

Select another publication »
For 17,779 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 2.4 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: 9,134 out of 17779
  2. Mixed: 7,009 out of 17779
  3. Negative: 1,636 out of 17779
17779 movie reviews
view
per page
  1. The Hate U Give
    Without compromising the complexity of the issues raised, or condescending to the youth of its protagonists, The Hate U Give strides with absorbing, intelligent certainty through the desperately dangerous, uneven terrain of racially divided America.
  2. BuyBust
    BuyBust is a superbly executed action film about drug squad members fighting for their lives in a maze-like Manila slum that resembles nothing less than hell on earth.
  3. Mirai
    It’s the work of a true auteur (in what feels like his most personal film yet) presented as innocuous family entertainment.
    • 79 Metascore
    • 90 Critic Score
    Cyrano de Bergerac
    A winner by more than a nose, Cyrano de Bergerac attains a near-perfect balance of verbal and visual flamboyance. Gerard Depardieu's grand performance as the facially disgraced swordsman-poet sets a new standard with which all future Cyranos will have to reckon.
  5. Joker
    Phoenix’s performance is astonishing.
  6. Little Women
    Gerwig’s script is far more comical than any previously committed to film. This she achieves by emphasizing the humor inherent in the source material.
  7. Mid90s
    Mid90s, though made by a Hollywood star, isn’t a nostalgic indie “fable” in gritty skate-punk drag. It’s something smaller and purer: a slice of street life made up of skittery moments that achieve a bone-deep reality.
  8. Studio 54
    The film shows you the club from every angle, and seems to be gawking at every patron. It puts us right inside.
  9. Wayne's World 2
    The latest chapter in the saga of Aurora, Ill., twosome Wayne and Garth is a puerile, misguided and loathsome effort ... NOT! The "Saturday Night Live" icons of vapid youth have come up with an exceedingly clever mixture of pure juvenilia and hip, social comedy for Wayne's World 2.
  10. At Eternity's Gate
    Schnabel, the director of “Before Night Falls” and “The Diving Bell and the Butterfly,” has stripped down his filmmaking in the most seductive way, all to achieve something audacious and elemental. He’s out to imagine what Vincent van Gogh was really like — to bask in van Gogh’s presence with an experiential, present-tense immediacy.
    • 97 Metascore
    • 90 Critic Score
    A Streetcar Named Desire
    Tennessee Williams' exciting Broadway stage play - winner of the Pulitzer Prize and New York Drama Critics award during the 1947-48 season - has been screenplayed into an even more absorbing drama of frustration and stark tragedy.
    • 67 Metascore
    • 90 Critic Score
    Phantom of the Paradise
    A very good horror comedy-drama about a disfigured musician haunting a rock palace. Brian De Palma's direction and script makes for one of the very rare backstage rock story pix, catching the garishness of the glitter scene in its own time.
  13. Vox Lux
    Powered in its second half by a riveting performance of fiercely mannered bravado by Natalie Portman, as a kamikaze electropop diva running her Faustian fame off and under the rails, Vox Lux paints a sharp, shellacked portrait of a ghost in the celebrity machine.
    • 63 Metascore
    • 90 Critic Score
    Star 80
    An engrossing, unsentimental and unavoidably depressing account of the short life and ghastly death of Playmate-actress Dorothy Stratten.
    • 61 Metascore
    • 90 Critic Score
    The Longest Yard
    The Longest Yard is an outstanding action drama, combining the brutish excitement of football competition with the brutalities of contemporary prison life. Burt Reynolds asserts his genuine star power, here as a former football pro forced to field a team under blackmail of warden Eddie Albert.
    • 77 Metascore
    • 90 Critic Score
    The Shootist
    Don Siegel's terrific film is simply beautiful, and beautifully simple, in its quiet, elegant and sensitive telling of the last days of a dying gunfighter at the turn of the century.
  17. A Private War
    A Private War manages to be simultaneously appalled by the humanitarian crises it depicts...and honest about the thrill that visiting such hot spots offered to someone who found it hard to readjust to her life in London between assignments.
    • 83 Metascore
    • 90 Critic Score
    Being There
    Being There is a highly unusual and an unusually fine film. A faithful but nonetheless imaginative adaptation of Jerzy Kosinski's quirky comic novel, pic marks a significant achievement for director Hal Ashby and represents Peter Sellers' most smashing work since the mid-1960s.
    • 88 Metascore
    • 90 Critic Score
    Strangers on a Train
    Given a good basis for a thriller in the Patricia Highsmith novel [script adaption by Whitfield Cook] and a first-rate script, Hitchcock embroiders the plot into a gripping, palm-sweating piece of suspense.
    • 76 Metascore
    • 90 Critic Score
    The Stranger
    The Stranger is socko melodrama, spinning an intriguing web of thrills and chills. Director Orson Welles gives the production a fast, suspenseful development, drawing every advantage from the hard-hitting script from the Victor Trivas story.
    • 94 Metascore
    • 90 Critic Score
    The Gunfighter
    The Gunfighter is a sock melodrama of the old west. There's never a sag or off moment in the footage as it goes about depicting a lightning draw artist, the fastest man with a gun in the old west, and what his special ability has done to his life.
    • 78 Metascore
    • 90 Critic Score
    Lifeboat
    Hitchcock pilots the piece skillfully, ingeniously developing suspense and action. Despite that it’s a slow starter, the picture, from the beginning, leaves a strong impact and, before too long, develops into the type of suspenseful product with which Hitchcock has always been identified.
  23. Wes Craven's New Nightmare
    An ingeniously conceived and devilishly clever opus.
  24. In Fabric
    There’s no reason a movie about a devil dress should work, and yet Strickland strikes the right tone, inviting laughter by taking it all so seriously.
  25. Shadow
    Every supremely controlled stylistic element of Zhang Yimou’s breathtakingly beautiful Shadow is an echo of another, a motif repeated, a pattern recurring in a fractionally different way each time.
  26. On Her Shoulders
    It’s one thing to tell a traumatic story, and another to capture how that trauma impacts a life. What makes Alexandria Bombach’s On Her Shoulders so powerful — besides the profound dignity of its subject, Yazidi massacre survivor Nadia Murad — is the way she reveals Murad’s distress at having to take on the role of activist.
  27. The Price of Everything
    The Price of Everything exalts in the spirt of art over commerce, yet what’s thrilling about the film — and what echoes in your mind after it’s over — is that it captures all the ways those two forces can’t be separated.
  28. They Shall Not Grow Old
    if They Shall Not Grow Old is head-spinning for its jolting animation of creakily shot battle scenes — tricked out with ingeniously integrated sound editing and seamlessly retimed from 13 frames a second to 24 — its greatest revelation isn’t one of sound and fury. Rather, it’s the film’s faces that stick longest in the mind.
  29. The Waldheim Waltz
    Thanks to her smart narration — clear, impassioned but never polemical — and the astute way she allows exceptional footage to play out to its full extent, The Waldheim Waltz has a sense of urgency made more pressing given political developments not just in Austria but Poland and Hungary as well.
  30. Life and Nothing More
    Whereas a Hollywood director might use subjective framing or emotional soundtrack cues to nudge audiences’ reactions in a certain way, Esparza strips away nearly all those techniques to a pure, neorealist approach: life and nothing more.
Page:

Top Trailers

See all »
See all trailers »