Variety's Scores

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For 17,825 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: 9,159 out of 17825
  2. Mixed: 7,029 out of 17825
  3. Negative: 1,637 out of 17825
17825 movie reviews
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  1. Dead & Beautiful
    A middling horror-thriller and social satire that opens with an intriguing premise but never probes its cashed-up characters deeply enough to create gripping drama from the heightened hedonism or existential crises they experience after acquiring new powers.
  2. One Shot
    One Shot manages to avoid seeming an overly schematic technical stunt. The mayhem depicted isn’t always fully convincing, but it does have a certain live-wire edge.
  3. Posse
    Despite all its agreeable revisionism and breezy bonhomie, Posse has the feel of a mish-mash of elements all thrown into a big pot and stirred. Lacking dramatic grounding and structuring, even the pertinent revelations that will be most surprising and interesting to modern audiences carry more intellectual than emotional resonance.
    • 53 Metascore
    • 50 Critic Score
    Don't Be a Menace to South Central While Drinking Your Juice in the Hood
    The latest product of the prolific Wayans family, Don't Be a Menace to South Central While Drinking Your Juice in the Hood is much like its marquee-buster of a title: full of very obvious spoofery, and funnier in concept than in execution.
  5. Dirty Work
    Highly reminiscent of Kingpin in its willingness to try anything for a laugh, Dirty Work is a shameless and sporadically hilarious comedy about two thirtysomething underachievers who start a revenge for hire business.
  6. Belly
    The film is never boring -- there's no question that filmmaker Hype Williams has the fancy moves -- but the rhythmic, stylistic repetition becomes tedious, and serves to keep the audience removed from the story.
    • 42 Metascore
    • 50 Critic Score
    The Magic Christian
    A spotty, uneven satire (from the novel by Terry Southern) with a number of good yocks, but insufficient sustained wit or related action.
  8. Everything Everywhere All at Once
    Everything Everywhere is ultimately too much of a good thing, a novel idea driven to the point of exhaustion.
  9. Blacklight
    If you approach it with sufficiently lowered expectations, and have fond memories of the ’70s paranoid dramas that obviously inspired director and co-writer Mark Williams, this might be your house-brand jam.
  10. Peter von Kant
    Everything in Fassbinder’s rightly canonized movie is fake, except the emotions. In Ozon’s loving, diverting but inessential homage, everything is real except the bitter, glycerine tears.
  11. The In Between
    The movie is at its best during the flashback scenes detailing their genuinely tender romance. It fares less well when they are separated and inhabit different realms.
  12. New York Ninja
    The on-screen actors’ raw hamming is nicely complemented by the voice performers’ relatively deadpan contributions, which only render the dialogue and situations even more absurd.
  13. Sharp Stick
    Sharp Stick, in its quick verbal exchanges, its naked sexuality, its general air of busting taboos as if they were oversize balloons, is recognizably a Lena Dunham movie. But it’s the first one of her projects in which the parts don’t quite add up, because it seems as if what we’re watching hasn’t been so much created as contrived.
  14. Emily the Criminal
    Despite the fact that the camera rarely backs away from studying Plaza’s wary eyes and tense mouth in close-up, this character piece feels as distanced from its taciturn subject as if it was merely monitoring her on security camera.
  15. Resurrection
    It winds up several stops north of bonkers, in a finale that shoots for transgressive, psycho-biological role-reversal, but plays like 1994’s Arnold Schwarzenegger comedy “Junior” given a torture-porn makeover.
  16. Babysitter
    The film is based on screenwriter Catherine Léger’s play, and perhaps the herky-jerk structure works on stage. On screen, however, it just feels undisciplined, as its Quentin Dupieux-style visual drollery never quite gels with its more obvious, broadly smutty farce.
  17. I’ll Be Your Mirror
    You come to Blood for its aura of spiritual sustenance, only to leave it feeling curiously alienated and undernourished.
  18. Summering
    Nostalgia may be the strongest emotion engendered by this breeze-blown dandelion seed of a film, which nods to the bittersweet complexities of growing up and confronting adulthood, but never gets as far as fully dramatizing them.
  19. The Weekend Away
    Ultimately there are a few twists too many, pushing the story into a realm of excess contrivance. There’s not enough time or nuance to lend numerous narrative turnabouts plausibility.
  20. Men
    The leaves are so green, the tone is so ominous, and the men are so … Rory Kinnear-y that audiences are all but guaranteed to leave this folk-horror bizart-house offering feeling disturbed, even if no two viewers can agree on what bothered them about it.
  21. Flux Gourmet
    To call “Flux Gourmet” an acquired taste would be an understatement. It’s really more of an elaborate inside joke by Strickland on the peculiar relationship between artists and the institutions that fund, develop and encourage their folly.
  22. Dark Glasses
    While it wouldn’t exactly be accurate to say that Dark Glasses was worth waiting a decade for, a world in which Argento continues working till the bitter end is preferable to one in which we don’t have movies like this at all.
  23. Taurus
    This is about as valiantly unflattering as vanity projects get. The bad news is that the wispily tragic character of “Cole,” his alienated, self-destructive but wildly popular alter ego, hardly seems worth Baker’s extensive efforts.
  24. Nobody's Hero
    Moonlighting as a broad bedroom farce, this heavily plotted but oddly low-energy film winds up too distracted and diluted to score as a vital political satire.
  25. Prey for the Devil
    Rather good actors do indeed keep a straight face, as does the film overall. And Stamm’s jump scares aren’t bad, as they go. He hasn’t made a very suspenseful movie, but he’s avoided both dullness and unintentional laughs.
  26. Father of the Bride
    This remake is loud and exaggerated; it’s more hijinks than heart. (Even the swans that bedeviled Martin have been swapped out for synchronized flamingos.) Audiences looking to shed a tear need not RSVP.
  27. Mother Schmuckers
    The Guits’ provocation is about as amiable as something so abjectly appalling can be, though it’s perhaps a few jaw-dropping shocks (or a few uproarious belly-laughs) short of the cult status it seeks.
  28. Renfield
    Cage’s Dracula, sipping blood out of a martini glass, is so quick, so in thrall to his legend, that he’ll slice you with sarcasm. It’s a witty and luscious performance, unhinged but never out of control, and it deserved a movie that could serve as a pedestal for the actor’s seasoned flamboyance.
  29. Anaïs in Love
    Some might wonder what Anaïs in Love really has to say for itself; the film, perhaps, objects to the idea of young women like its cheerfully confused heroine having to explain themselves at all. Either way, this zephyr-blown dandelion of a movie isn’t going to break a sweat to get its message across.
  30. Love After Love
    Love After Love goes through the motions of classic, rousing melodrama but not the emotions.
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