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. Umma
    Oh aces her leading role with customary aplomb, and Stewart makes for a game scene partner, but Shim’s economical-to-a-fault screenplay rarely allows them enough downtime to fully flesh out their characters.
  2. Memory
    In the end, “Memory” isn’t terribly convincing, but it’s at least trying for something more serious than most.
  3. Easter Sunday
    Instead of character and chemistry, the film employs a series of running gags meant to support the star’s likability and not compete with his wisecracks.
  4. Secret Headquarters
    With a solid cast, healthy sense of humor and polished visual effects, the film rises above so many of the sub-cinematic slogs littering the streaming fray. Expecting it to be memorable proves to be a big ask from the filmmakers, despite their hunger for a Marvel-style, Amblin-esque franchise starter. Still, the ease with which we forget its blights might just be the project’s real superpower.
  5. Crush
    What’s jarring in Crush is the absence of some requisite dose of youthful mischief, a sense of stakes and perhaps even a lightly scandalous touch, integral to the spirit of many of the genre staples Cohen and co-writers Kirsten King and Casey Rackham attempt to revive on their own terms.
    • 42 Metascore
    • 50 Critic Score
    Children of the Damned
    What weakens this sequel is the fact that, unlike the original, it is burdened with a "message."
    • tbd Metascore
    • 50 Critic Score
    Boys' Night Out
    Since the element of story surprise, so vital in humour, is completely absent in the Ira Wallach screenplay, adapted by Marion Hargrove from a story by Arne Sultan and Marvin Worth, the audience is forced to seek comedy rewards in isolated doses – individual gags and situations.
  8. Father Stu
    Father Stu is not your everyday Hollywood religious odyssey — it’s closer to “Diary of a Country Cutup.” It’s a surprisingly sincere movie about religious feeling, but it is also, too often, a dramatically undernourished one.
  9. The Princess
    A smarter script would’ve found ways to work a historical critique (or some “Shrek”-like satire, at least) into its relatively brainless string of set pieces.
  10. Trapped in Paradise
    An agreeable Middle American comedy intent upon reviving oldfashioned virtues, George Gallo's second feature doesn't serve up the big yocks needed to make it a breakout sleeper.
  11. The Takedown
    Leterrier manages a few modestly exciting chase scenes, including one that begins in a laser tag course, continues through a bowling alley and a go-kart track, and ends in a crowded supermarket. And his two leads are agreeably amusing and for the most part engaging throughout the film.
  12. Deadfall
    Watchable only for camp value, Deadfall is at its best when cameo-laden anarchy reigns. As a tribute to film noir, it won't make it to the late late show.
  13. Eiffel
    Bourboulon hatches a second-rate romance, rather than detailing the rich, real-life drama that swirled around Eiffel’s controversial endeavor.
  14. Halftime
    Halftime justly salutes Lopez’s pride in her achievements, but it’s every bit as much a salute to her brand management.
  15. Press Play
    Greg Björkman’s directorial debut has a catchy hook and atmospheric pull — yet the material leaves far too much underdeveloped, unrealized and incohesive to connect with viewers’ heads and hearts.
    • 59 Metascore
    • 50 Critic Score
    Summer of '42
    Robert Mulligan's Summer of '42 has a large amount of charm and tenderness; it also has little dramatic economy and much eye-exhausting photography which translates to forced and artificial emphasis on a strungout story.
    • 58 Metascore
    • 50 Critic Score
    Crimes of the Future
    Cronenberg’s obsession for such matters as bodily mutation and grotesque growths, aberrant medical experiments, massive plagues and futuristic architecture are all here in a convoluted look at a future gone perverse.
  18. They/Them
    It’s so committed to affirmational messages about queer identity not being a choice, a condition or a legitimate motive to get axed by a deranged serial killer that the movie all but forgets to be scary — although enlisting Kevin Bacon as too-genial-to-be-trusted camp overseer Owen Whistler nearly makes it work.
    • 91 Metascore
    • 50 Critic Score
    An Autumn Afternoon
    This view of contemporary middle class life in Japan is too leisurely paced, too sentimental in design and its humorous social comments too infrequent.
  20. The Last Voyage of the Demeter
    That’s the most poetic thing in the movie. The rest of the time, The Last Voyage of the Demeter is too explicit, too dawdling yet rapid-fire, too much like other horror films.
  21. Enys Men
    Visually and sonically, Enys Men is utterly intoxicating, but a lack of any nourishing interplay between form and content makes it feel like getting drunk on an empty stomach, alone on an island where everything happens at the same time, and nothing really happens at all.
  22. A Magnificent Life
    Magnificent as Pagnol’s achievements may have been, it’s a pity that the decades-spanning account of one of France’s greatest storytellers didn’t make for a better story unto itself.
  23. Funny Pages
    What is doesn’t have, oddly, is any sort of bone-deep reality factor. Almost nothing that happens in Funny Pages is particularly believable.
  24. A Goofy Movie
    Brightly drawn, fast-moving and mercifully short, efficient effort is a male bonding saga that hinges upon the fears of teenage pooch Max that he’ll grow up to be just as goofy as Dad.
  25. Anything's Possible
    It still plays a bit too much like a public service announcement — where characters embody and express trans-accepting talking points — and not enough like the funny, sexy teen rom-coms that clearly inspired it.
  26. The Walk
    The film’s insights about racism come as familiar baby steps.
  27. The Good Neighbor
    Competent performances and a slick veneer make this revamp go down easily enough. Still, one wishes Rick had placed more emphasis on Hitchcockian suspense, rather than trusting the slow-moving tale will hold us via plot and character complexities that really aren’t particularly evident.
  28. Spoiler Alert
    Throughout, Spoiler Alert shows a maturity toward modern relationships, whether straight or queer, that’s refreshing and instructive. Unfortunately, too much of the movie simply doesn’t work.
  29. Fourth of July
    Fourth of July is a trifle, and a facile, easy-to-watch one. But what it’s offering under the surface feels, in part, like a clandestine defense of Louis C.K.’s transgressions. In about 45 minutes, the family swings from being louts to saints. That’s supposed to be a lesson to us all. It’s not a convincing one.
  30. Doula
    Doula ultimately comes across less as an actual comedy and more as a slice of life that’s lighthearted but also low stakes.
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