Variety's Scores

Select another publication »
For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
view
per page
  1. Superintelligence
    Some of the funny business is very funny indeed, and the movie overall is more enjoyable than not. Which, again, makes it perfect for streaming.
  2. Cinderella
    For all the innovative, intelligent decisions made, there are an overwhelming number of frustrating creative choices. The movie’s pacing is inconsistent, especially when it comes to character development, which can feel at once underdeveloped and overstuffed.
  3. Asthma
    Ritter’s performance is the liveliest thing in a callow, shallow cautionary tale, which wears its influences on its artfully frayed sleeve and no closer than that to its heart.
  4. The Other Side of the Door
    The type of sporadically silly and patently predictable horror pic that would look like filler on Syfy’s weekend lineup, The Other Side of the Door brings virtually nothing new to the supernatural genre.
    • 41 Metascore
    • 60 Critic Score
    Every Which Way But Loose
    For Eastwood fans, the essential elements are there. Lots of people get beat up, Eastwood walks tall and looks nasty, cars are crashed. James Fargo directs limply.
  6. Fountain of Youth
    Despite Guy Ritchie’s herculean efforts to combine a whole lot of immediately familiar elements into a brisk, occasionally imaginative “adventure movie” potpourri, screenwriter James Vanderbilt’s reinvention of footnotes from his real-life family history never quite achieves the consistent balance between real-world seriousness and buoyant escapism demanded of a globe-trotting treasure hunt like this.
  7. Machete Kills
    As violent as its predecessor yet noticeably duller and less outrageous, Machete Kills is dragged to the finish line entirely by its director’s madcap energy and an absurd cast of major stars in strange cameos.
  8. Mallrats
    While admittedly ragged and ribald, it's a picture with an innate charm and honesty that should win over audiences.
    • 41 Metascore
    • 50 Critic Score
    Gator
    This follow-up to White Lightning never takes itself seriously, veering as it does through many incompatible dramatic and violent moods for nearly two hours.
  10. TMNT
    Munroe's script denies fans the satisfaction of a decent story or amusing interactions. Rather than waiting for a screenplay that warranted their bigscreen return, TMNT feels like an attempt to exploit the phenomenon further.
    • 41 Metascore
    • 50 Critic Score
    She's Having a Baby
    She's Having a Baby is an oddly uneven and quasi-serious look into the angst of the early years of a contemporary marriage that parallels TV's thirtysomething. There are many comedic setups which, if they were with less architypically drawn characters, might have delivered the laughs with the refreshingly innocent joy that has been the hallmark of other John Hughes pics.
  12. Consecration
    In Consecration Jena Malone doesn’t just sport a casually impeccable British accent. She becomes British — her mood and manners, the way she rocks the sweaters and bangs and debonair politeness. She creates a compelling character, only to see the film’s director, Christopher Smith, swallow her up in all the ecclesiastical gothic malarkey.
    • 41 Metascore
    • 50 Critic Score
    Hardware
    Hardware veers loonily out of control and becomes a black comic exercise in F/X tour-deforce that’s ceaselessly pushing itself over the top.
  14. Battleship
    Overlong and underwritten even by the standards of summer f/x extravaganzas, this Battleship will nonetheless float with many on the strength of its boyish, eager-to-please razzle-dazzle.
  15. What a Girl Wants
    It feels much more like a shameless reshuffle of "The Princess Diaries."
  16. Torque
    A spectacularly trashy and aggressively flashy motorcycle melodrama in which computer-enhanced action scenes, unbound by gravity or logic, are choreographed, photographed and edited to resemble video-game stratagems.
  17. Mambo italiano
    The broad comedy is somewhat strained and obvious, and the hyper-real atmosphere encourages the cast to slice the prosciutto a little thickly. But the film's sweet-natured ingenuousness proves reasonably contagious.
  18. Stella Street
    A hip comic curio.
  19. A Castle in Italy
    Bruni Tedeschi holds all of pic’s myriad tangents in a delicate balance, no single one ever rising to the fore, no pressure felt to wrap everything — or anything — up in a tidy package at the end.
  20. Our Little Secret
    You watch Our Little Secret, seeing through the paper-thin contrivances, tittering at the imbecilities, and somehow that all becomes part of the experience. It’s mainstream fodder as downgraded camp. It’s pablum so numbing it makes you feel good.
  21. Home Again
    Once Nancy Meyers went out on her own, she became a wittier and more nimble filmmaker. So maybe Hallie Meyers-Shyer will follow in her footsteps and improve. Right now, she’s got nowhere to go but up.
  22. A Man's Gotta Do
    A cut above the average Aussie crazy-clan comedy.
  23. Venom: The Last Dance
    As you watch “The Last Dance,” the film obliterates any distinction between shooting the works and jumping the shark and just saying, “WTF, let’s do it!”
    • 41 Metascore
    • 40 Critic Score
    Smokey and the Bandit II
    Sally Field tells Burt Reynolds in Smokey and the Bandit II that he is no longer having fun doing what used to come naturally. This stale sequel seems to be evidence of going through the motions for money instead of fun. Ironically, the best part of the film is the unusual end credit sequence, which shows the actors having fun when they blow lines in outtakes.
    • 41 Metascore
    • 40 Critic Score
    Tango & Cash
    Tango & Cash is a mindless buddy cop pic, loaded with nonstop action that's played mostly for laughs and delivers too few of them. Inane and formulaic, the film relies heavily on whatever chemistry it can generate between Sylvester Stallone and Kurt Russell, who repeatedly trade wisecracks while facing life-or-death situations.
  26. Marlowe
    A phony, flimsy attempt at vintage noir.
  27. Little Ashes
    For much of its running time, Little Ashes wavers between the polite, stuffy style of a "Masterpiece Theater" production and the more pointed agenda of gay indie cinema, with real Spanish locations classing up the otherwise low-budget affair. Acting is stagy and hindered by thick Spanish accents.
    • 41 Metascore
    • 30 Critic Score
    The Rookie
    Overlong, sadistic and stale even by the conventions of the buddy pic genre.
  29. Zerophilia
    Plays like a throwback to such transformative adolescent anxiety romps as "Teen Wolf" and "Just One of the Guys," this time aiming at a slightly less innocent crowd.
  30. The Purge
    The film’s thudding shocks and predictability dull its edge.
Page:

Top Trailers

See all »
See all trailers »