Variety's Scores

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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
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  1. Sal
    While Sal means to honor its subject, it’s too clunky and amateurish to really illuminate him.
    • 41 Metascore
    • 60 Critic Score
    Police Academy
    Police Academy at its core is a harmless, innocent poke at authority that does find a fresh background in a police academy.
  3. Village of the Damned
    Awful scripting and an unimaginative approach to re-imagining material's potential have left Universal with a theatrical in-and-outer on its hands.
    • 41 Metascore
    • 80 Critic Score
    Career Opportunities
    Writer-producer John Hughes' followup to Home Alone lacks the spit-polish and magic of the blockbuster but still has plenty of absorbing characters, smart, snappy dialog and delightful stretches of comic foolery.
  5. Drillbit Taylor
    A junior-league "Superbad" with an aftertaste of "The Pacifier," Drillbit Taylor is a just passable pubescent comedy with a modest laugh count by Apatow factory standards.
  6. Desperados
    The “raunchy” set-pieces feel like road bumps en route to a too obvious and disappointingly tidy conclusion. Do yourself a favor and spend five minutes — and as many dollars — researching something else to watch instead.
    • 41 Metascore
    • 70 Critic Score
    Dumb and Dumber
    A flat-out celebration of stupidity, bodily functions and pratfalls. Yet the wholeheartedness of this descent into crude and rude humor is so good-natured and precise that it's hard not to partake in the guilty pleasures of the exercise.
  8. Pompeii
    While more coherent than much of Anderson’s recent work, the film proves less successful at combining destruction and damsel-in-distress storytelling within the same frame, serving up blurry images of Milo trying to rescue Cassia while the city crumbles around them.
  9. Stoned
    The film's sputtering dramatic engine, underwhelming perfs, and absence of music by the Stones themselves may leave the key younger demographic wondering what all the fuss is about.
  10. The Perfect Match
    An attractive and appealing cast helps this formulaic pablum go down easy, but the genial tone buffs the edge out of every element.
  11. The Woman in the Window
    The Woman in the Window would like to be a contempo “Rear Window,” but it’s so riddled with things you can’t buy that it plays like a bad Brian De Palma movie minus the camera movement.
  12. One to Another
    A bland, perverse round-robin of teen angst.
  13. When the Game Stands Tall
    An inspirational sports drama that goes long on rectitudinous sermonizing but comes up short on gridiron thrills or genuine love for the game.
    • 41 Metascore
    • 40 Critic Score
    Comes a Horseman
    Alan Pakula’s Comes a Horseman is so lethargic not even Jane Fonda, James Caan and Jason Robards can bring excitement to this artific- ially dramatic story of a stubborn rancher who won’t surrender to the local land baron.
  15. Jiminy Glick in Lalawood
    Too often depends on salty, adolescent one-liners that provide shock value guffaws but grow cumulatively wearisome.
    • 41 Metascore
    • 60 Critic Score
    Hard to Kill
    It ain’t pretty, but it gets the action fans off.
  17. Sahara
    Saddled with more industry/celebrity baggage than a high-class safari voyage, Sahara is a rousing and only occasionally ridiculous adventure yarn.
  18. Silk Road
    A fervently topical, at times intriguing, but ultimately rather sketchy drama about the online black market.
  19. I Still Believe
    Thanks to the immensely appealing performances by Apa and Robertson, it’s easy for the audience to take a rooting interest in the sometimes awkward, sometimes amusing development of the budding romance between Jeremy and Melissa.
    • 41 Metascore
    • 50 Critic Score
    Into the Night
    The film itself tries sometimes too hard for laughs and at other times strains for shock. Goldblum is nonetheless enjoyable as he constantly tries to figure out just what he’s doing in all of this.
  21. The Limits of Control
    Worst of all, it just feels tired and recycled.
  22. Miller's Girl
    Written, produced and directed by Jade Halley Bartlett, the film is both impressively erudite and unrelentingly self-aware, a combination it bravely attempts but doesn’t quite fully balance.
  23. Crank: High Voltage
    Benefits of the first film's ancillary gross-out will jolt "Voltage" like a speedball shot to the groin, until word of mouth spreads like an STD.
    • 41 Metascore
    • 70 Critic Score
    Money Buys Happiness
    Camera compositions are curious, even poorly framed at times, but helmer's gift is in directing actors and building scenes around physical actions, much like silent filmmakers.
  25. The Hebrew Hammer
    Although amusing as often as not, the material remains more comedy-sketch fodder than a fully developed feature.
  26. What Planet Are You From?
    Good for a few lascivious titters but quite lacking in the sort of comic bite and social satire one hopes for in the work of Mike Nichols.
  27. Mumia: Long Distance Revolutionary
    Stephen Vittoria's documentary about Mumia Abu-Jamal -- unrepentant commie cop-killer to some, political martyr to others -- makes no bones about its allegiance.
    • 41 Metascore
    • 60 Critic Score
    Supergirl
    Helen Slater is a find: blonde as Supergirl, dark-haired as Linda Lee, she’s an appealing young heroine in either guise. Screenplay is filled with witty lines and enjoyable characters, but Jeannot Szwarc’s direction is rather flat.
    • 41 Metascore
    • 60 Critic Score
    Dune
    Dune is a huge, hollow, imaginative and cold sci-fi epic. Visually unique and teeming with incident, David Lynch's film holds the interest due to its abundant surface attractions but won't, of its own accord, create the sort of fanaticism which has made Frank Herbert's 1965 novel one of the all-time favorites in its genre.
  30. Death of a Dynasty
    The execution is so amateurish and the script so witless the filmmakers appear to be having a far better time than the audience.
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