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. Martin Lawrence Live: Runteldat
    By turns defiant and apologetic, gleefully raunchy and anxiously defensive.
  2. Max Keeble's Big Move
    Surprisingly amusing.
  3. The Phantom of the Opera
    Sumptuous pic version, which evokes the original show while working as a movie in its own right, is lit by a radiant, vocally lustrous perf by teenaged Emmy Rossum.
  4. The Bromley Boys
    Steve Kelly’s lightweight film spins allegedly true events into the stuff of pure sitcom: affable enough, but so glibly inauthentic as to make “Bend It Like Beckham” look like cinéma vérité by comparison. It’s curious how the world’s most popular sport maintains such a thin roster of truly classic movies in its honor; that is unchanged here.
  5. Dance Flick
    This slapstick and scatological spoof settles for obvious punchlines, delivering just enough laughs to justify its existence without coming anywhere near the bar set by "Scary Movie."
  6. The Goldfinch
    What you experience isn’t the book, exactly; it’s the strenuous creative labor that went into adapting it. What cast a winding spell on the page has become an occasionally compelling but mostly labored live-action illustration.
  7. Twixt
    This disarmingly cheeky, intermittently gorgeous trifle would create the perfect bookend to a career begun almost 50 years ago.
  8. Bad Kids Go to Hell
    A slickly produced and brazenly clever piece of work that could attract a cult by sheer dint of its ingenious nastiness and self-aware snark.
  9. Beneath
    That sly toying with audience sympathies is, alas, all that’s notable about this otherwise poverty-row quickie produced for the Chiller cable network.
  10. Meg 2: The Trench
    The Meg 2 is numbingly formulaic, promiscuously derivative and, for a few stretches (like the over-the-top third act), diverting in its very shamelessness. It is, in other words, all an August movie really needs to be. But there’s a way that the line between August movies and movies, period, is growing thinner every day.
  11. The Virginity Hit
    Those with the stomach for 90 slapdash minutes of nonstop crudity and cruelty will be tickled, while their elders will likely despair at these youngsters' lack of a moral center or ability to hold a camera steady.
    • 40 Metascore
    • 60 Critic Score
    Over the Top
    Stallone is sincere and soulful as a father who messed up pretty bad and just wants his kid back, Mendenhall is a likable tyke, and justice is served in the end.
  13. French Girl
    For every inventive or simply satisfying rom-com, there are dozens of clumsy, rote ones — French Girl falls among the latter.
  14. Monkeybone
    It's equal parts wacky, sappy and sniggery.
  15. Message in a Bottle
    Dreary, lachrymose and incredibly poky tear-jerker that makes its audience wait and wait and wait until nearly the last second for its jerking.
  16. Bliss
    Cahill gets so bogged down in hair-splitting rules and exposition that he loses track of the bigger themes.
  17. 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.
  18. Tanner Hall
    Refigured from a never-made TV pilot, this shallow boarding school-set coming-of-ager traverses familiar territory without offering anything fresh.
  19. Last Weekend
    Its eventual reach for warm-and-fuzzy emotional catharsis rings hollow among characters that never become more than disagreeably shallow products of unexamined privilege.
  20. Tim and Eric's Billion Dollar Movie
    Recycles characters and plotlines from their show, along with badly made commercials and faux PSAs about inane subjects, a gambit that dates back to such comedy compilations as "Kentucky Fried Movie" or even "Laugh-In." What Tim & Eric has that those others lacked are the many sexually outre, scatological and degrading moments that seem intended to shock -- and perhaps will, if you're really young or really old.
  21. 3 Days to Kill
    The lukewarm family dynamics sit awkwardly alongside equally underwhelming action sequences.
  22. The Other End of the Line
    As cross-cultural bridge-builders go, picture is smart, funny and sweet enough to make you reassess your attitude next time you get reach tech support in New Delhi.
    • 40 Metascore
    • 70 Critic Score
    The Best Little Whorehouse in Texas
    The Best Little Whorehouse in Texas is just about everything it's meant to be - a couple of diverting hours in the dark. Rollicking, good-natured, a bit spicy and with just enough heart to avoid seeming totally synthetic.
  24. Welcome To Marwen
    The film is far from incompetent, and it brims with ambition, but too much of the time what’s happening just sits there. It’s a lavishly odd concoction, like a feel-good movie for OCD miniature-world Barbie-doll fetishists.
  25. Wicker Park
    All of this was more enjoyable when Bellucci, Cassel and Bohringer were the stars. Hartnett is overly methodical here as Matthew, and Kruger, as in "Troy," is beautiful but lacking in dramatic intensity.
  26. Paris 36
    Schematically scripted tale revels in its multiple story arcs, but shows signs of battle fatigue in the later reels.
  27. Leonie
    Played with a strong spine and a resolute lack of charm by Emily Mortimer, Gilmour is a perfect vehicle for Matsui’s agenda, which is clearly a feminist/revisionist celebration of the life of a major artist.
  28. Good
    Considering its theme and setting, there's something very wrong with a Good that seems merely competent, uninspired and a bit old-hat.
  29. Lord of the Dance in 3D
    Numbingly repetitive in its routines, and seeming to take a bow from the moment it begins, Lord of the Dance 3D makes crystal-clear the sometimes muddied distinctions between a live performance and the filmed alternative.
  30. The Last Word
    Watching MacLaine’s Harriet embrace her life, after spending too much time rejecting it, leads The Last Word to a touching finish. MacLaine has something that shines through and elevates a film like this one. The movie is prefab indie whimsy, but she gives it an afterglow.
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