Variety's Scores

For 17,777 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:
17777 movie reviews
  1. Arriving so soon after "A Knight's Tale" -- and the 25th-anniversary reissue of the classic "Monty Python and the Holy Grail," Black Knight is a textbook example of too much, too late.
  2. Not just instantly forgettable, but beginning to fade from memory even as its images still play across the screen.
  3. Though it fails in its final reels to capitalize on its early promise, picture is still stylish, accomplished and tremendously enjoyable fare.
  4. Serves up a judicious blend of showy action, political intrigue, ticking-clock suspense and intramural CIA one-upsmanship for mainstream entertainment.
  5. A few minutes of good snowboarding footage -- all in the first reel, alas -- after which it's strictly downhill, bunny-slope style.
  6. Problematically structured, overly protracted and lacking in narrative fluidity.
  7. The Legend of Ron Jeremy is, at a brisk 75 minutes, long enough to get the job done.
  8. Distinguished by generally good performances and smart camerawork.
  9. A Steve Martin vehicle that's not prankish or weird enough by half.
    • 46 Metascore
    • 80 Critic Score
    Though picture is at times undermined by a lack of unifying perspective, its glimmers of greatness are a testament to the talent involved.
  10. The script is faithful, the actors are just right, the sets, costumes, makeup and effects match and sometimes exceed anything one could imagine.
  11. Flavorsome package vividly captures Bombay slum life, neither neglecting nor overemphasizing the bawdy, drag-queenish flamboyance hijiras bring to its mix.
  12. A sloppy and shoddy piece of work, filled with just about every cliche and caricature common to low-budget, low-brow comedies with predominantly African-American casts.
  13. Morrow displays keen attention to physical detail, but starring both behind and in front of the camera looks to have been a mistake here.
  14. Story's spurts of violence are designed to tear Seymour's world apart , but Rosenfeld's scripting and directing choices tend to lessen impact of a potentially gut-wrenching urban tale.
  15. While staccato dialogue and edgy confrontations have always been the wordsmith's forte, the precision-tooled mechanics of an elaborate crime caper have not, and the physical direction here could use some muscle.
  16. Could use a little extra comic poundage. The Farrelly brothers' latest sees the team tapping a sweeter, milder vein of humor than their outrageous norm.
  17. Not a cheerful watch: It's a shocking portrayal of rampant racism.
  18. Any buyer who's had success with Troma fare in the past will find the makings to delight the self-selecting audience that generates grosses from gross-out humor.
  19. Emphasis on its combustible emotions, suspense and surprising humor should help draw sophisticated audiences who, once lured, will quickly find themselves hooked for the duration.
  20. Although decked out with a legitimate star and handsome production carpentry, pic takes no greater interest in creating three-dimensional characters or fleshing out a credible storyline than does the run-of-the-mill straight-to-video thriller.
  21. Riveting, often haunting.
  22. Clever and jokey in a vaudeville sort of way, but lacks the heart and sheer imagination of the company's best work for Disney, "Toy Story 2" and "A Bug's Life."
  23. Fresh, funny, exquisitely bittersweet tour de force.
  24. The combo of cheesy effects and martial arts choreographer Cory Yuen's unimaginative staging results in something that's martial artless.
  25. Slick, ingratiating and high-spirited enough to win over gay men of all colors.
  26. Result is a weird hodgepodge that has the audience doing mental somersaults in an attempt to keep up with this highly original festival head-scratcher.
  27. The Coen brothers tread into James M. Cain territory with The Man Who Wasn't There, but with less tasty results than either Cain or the Coens themselves at their best.
  28. Guediguian's seemingly sprawling but in fact quite precise picture takes a while to establish itself, but is eventually rewarding viewing.
  29. Offers radical sexual politics in a jester's surprise package of impudent humor and Situationist-style found-footage monkeyshines.

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