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. Bird
    The film is Arnold trying to have the integrity of her severity and eat it too. Bird is a feel-bad movie that turns into a feel-good movie. What it never feels like is a totally authentic movie.
  2. It's Not Me
    he fatal flaw of “It’s Not Me” is that it looks backward rather than forward, embodying films that have already been made, rather than those yet to be dreamed.
  3. 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.
  4. The Outrun
    On its own unvarnished, metaphoric, diary-of-destruction-and-renewal terms, The Outrun is competent and even stylishly made, yet I have to confess: I found the movie overwhelmingly drab.
  5. Household Saints
    After building up some cockeyed charm through the first half, Nancy Savoca’s third feature peels off into obscure and particularized religious mysticism, leaving the viewer grasping in vain for a handle to hold onto for the second hour.
  6. Freaky Tales
    Freaky Tales takes nearly 40 minutes to find its footing, but once it kicks in, there’s roughly an hour of grindhouse glory ahead (assuming streaming audiences make it that far).
  7. Sebastian
    Despite the film’s confident naturalism, it seems less intimate as it goes on, with Max somehow growing more distant and generic as he becomes more comfortable in his own skin.
  8. Outlaw Posse
    Outlaw Posse proceeds at something a bit slower than a full gallop, and incorporates more subplots than it can adequately do justice. But it never feels dull, thanks in large measure to the game performances of well-cast supporting players in an ensemble.
  9. Your Monster
    Mopey to a fault, with a missed opportunity for an ending, Your Monster amounts to an intermittently amusing, grubby-looking pity party.
  10. Monolith
    The film, a debut feature from director Matt Vesely and screenwriter Lucy Campbell, falls sway to the clickbait tropes it intends to send up: red herrings, a tone of suffocating gloom and a desperation to keep the audience on the hook.
  11. Mother of the Bride
    While a gentle, light-hearted romp is indeed welcomed in these taxing times, there’s much left to be desired from our journey with these likable but under-developed characters.
  12. The Union
    The trouble with The Union is that neither the film nor its characters have much in the way of personality, to the point it’s not even clear how they feel about one another.
  13. The Arctic Convoy
    The fact-inspired story’s central situation is compelling enough. But director/co-writer Henrik M. Dahlsbakken (of recent biopic “Munch”) delivers a middling effort too sparing of excitement to satisfy action fans, and without the character depth or involvement to score as drama instead.
  14. Incoming
    As a standalone, Incoming hits its marks, but its cast amounts to a collection of tics, while its appetite for raunch seems unfulfilled.
  15. Suspended Time
    Alternating a thinly fictionalised portrait of the artist isolating at his family’s country home with fully autobiographical narration by the director himself, this mildly amusing but vastly indulgent bagatelle feels a tardy entry in the first wave of lockdown cinema — too late to feel fresh, but still too soon to have accumulated much meaningful perspective on an experience we all remember too well.
  16. Pepe
    De los Santos Arias sends us on an uncategorizably odd journey down the river of his noodling, needling imagination in a rickety canoe that keeps on capsizing, upended by another sideswiping reference, another jarring change of scene and timeframe or yet another stretch of borderline incomprehensible narration from Pepe himself, a creature who is as surprised as we are that he has suddenly acquired language.
  17. The Watchers
    For a while, The Watchers is a reasonably well-made lost-in-the-woods horror movie, one that draws you in like a puzzle whose rules you need to learn (just as the characters do).
    • 66 Metascore
    • 50 Critic Score
    The Rain People
    Writer-director Francis Coppola, scrutinizing the flight of a neurotic young woman and her efforts to assist a brain-damaged ex-football player, has developed an overlong, brooding film incorporating some excellent photography. Often lingering too long on detail to build effects, he manages to lose character sympathy.
  19. Stormy
    “Stormy” shows you what the scandal looks like from inside the sensationalist bubble of fame, and by the end of the film you may be a little bit ashamed of us all.
  20. The Ballad of Davy Crockett
    Throughout much of The Ballad of Davy Crockett, it’s hard to shake the impression that an hour’s worth of plot has been padded to feature length.
  21. Dying
    A film of remarkable performance and subject matter, laid low by unremarkable filmmaking.
  22. Y2K
    It’s not that the two parts of the movie don’t go together. It’s that the last hour of it, the cheeky dystopian alien-tech horror farce, simply isn’t very good.
  23. TRON: Ares
    While it was exciting to see what “Tron” might look like in the 21st century, the brand gets in the way of Ares’ internal evolution. However fascinating it might be to watch him “level up,” what audiences expect — and what Rønning delivers — are cycle races and dynamic gladiator battles.
  24. Common Ground
    This broadness of info only means the Tickells remain surface-level on most topics. Their Common Ground only teases but doesn’t dig deep enough into the intersection of racism and capitalism that brought us to today.
  25. The Exorcism
    The darker the movie gets, the less there is at stake, and the more that Crowe seems to be going through the motions of trying to save not his soul but his career.
  26. Masters of the Universe
    It’s a nostalgia trip that never quite belongs to the present, and never rouses any real, cherished memory of the past.
  27. Treasure
    A film with heart but no real teeth, the commendable sensitivity of which turns too easily toward the sentimental.
  28. Three Kilometres to the End of the World
    For all its cool, compelling proficiency, there’s little about the film that feels idiosyncratic, either stylistically or in its surface-level human portraiture.
  29. Armand
    The movie, while elegantly photographed, is mostly a shambles. It keeps throwing things at you in an oblique and random way, and it’s constructed like a puzzle with no solution.
  30. A Sacrifice
    The result is a movie that ultimately falls short on both suspense and ideas, though it remains watchable enough.
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