Variety's Scores

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:
17825 movie reviews
  1. Jeff Daniels' gleeful misanthropy and Lauren Graham's emotional openness are poorly served by the pic's transparently phony story and therapeutic uplift
  2. Arriving on the heels of America's torture-porn wave, Deadgirl takes a disturbing adolescent male fantasy and glosses it up just enough to pass for a legitimate horror movie.
  3. As fiction characters go, Ryden seems as dull as they come, making it hard to muster much sympathy for her plight.
  4. With "Shampoo" and "American Gigolo" now distant memories, the time evidently seemed ripe for another Hollywood stud movie. Despite Ashton Kutcher’s believability as an older woman’s kept boy, Spread isn’t a patch on those previous films.
  5. A relatively unimaginative take on the proceedings, coupled with occasionally bizarre stereoscopic work and awkward narration, causes the picture to bail out more often than it soars.
  6. This PG-rated offering thus dances along a fine line -- one that suggests a shelf-life well short of its "I wanna live forever" anthem.
  7. Eating Out: All You Can Eat somewhat departs from the series' gay spin on the raunchy teen sex comedy in favor of semi-sincere romantic comedy -- after a crass and abysmal first stretch, that is.
  8. Napoleon Dynamite seems perfectly well-adjusted (not to mention downright charismatic) compared to homeschooled mama's boy Benjamin Purvis in Gentlemen Broncos, the latest oddball character portrait from one-trick helmer Jared Hess.
  9. A less-than-frothy domestic showdown starring Meg Ryan and Timothy Hutton, it owes as much to Edward Albee as to Nora Ephron, with an occasional nod to "A Clockwork Orange."
  10. Don't be surprised if the movie's most wince-inducing moments come not from the "disturbing images" (as the MPAA describes the sight of a leg bone sticking six inches out of one character's ski pants) but rather of the bad acting and worse dialogue.
  11. This appealingly cast movie seesaws from unlikely thoughtfulness to imbecilic vulgarity.
  12. This dire battle-of-the-exes action-comedy severely tests audience goodwill by running an indulgent 110 minutes, crammed as it is with half-baked thriller subplots and aimless supporting characters, as if to distract from the central duo's nonstop bickering.
  13. This "Titans" reboot merely demonstrates that building a more elaborate mousetrap doesn't necessarily produce a more entertaining one.
  14. This potentially intriguing story winds up being dull and at times faintly silly.
  15. This bad idea is then underlined by pallid direction from tyro helmer and TV ad vet Kevin Donovan, a virtually incomprehensible plot line and a less-than-satisfying co-starring turn from Jennifer Love Hewitt.
  16. Has a patched-together feel, and its aims as human drama, social documentary and vigilante movie are never quite reconciled.
    • 63 Metascore
    • 40 Critic Score
    Wilder, usually a director of considerable flair and inventiveness (if not always impeccable taste), has not been able this time out to rise above a basically vulgar, as well as creatively delinquent, screenplay, and he has got at best only plodding help from two of his principals, Dean Martin and Kim Novak.
  17. It often resembles John Cassavetes' "A Woman Under the Influence," but just as often devolves into a series of bravura acting exercises strung together by an increasingly sketchy narrative theme.
  18. Worth seeing for its wealth of archival footage hitherto little-seen outside Communist bloc nations, Fidel nonetheless errs badly by slapping a quasi-objective journalistic tenor onto content so flattering and uncritical it might pass for an old "This Is Your Life" episode.
  19. Emerges as a curiously mild-mannered if not downright tepid drama.
  20. The attempt to draw certain connections between Griffin's material and its autobiographical origins feels slapped together, shortchanging both aspects of the film.
  21. Plays like an aggressively heart-tugging, exceedingly vanilla Disney telemovie.
  22. Technically raw, and amusing only in hit-and-miss fashion, the no-budget independent production recalls too many other entries about erudite young adults wrestling with questions of love and sex.
  23. A case of means exceeded by ambition.
  24. Has the frustrating feel of a rousing, epic oater sadly compromised.
  25. A colorful, enjoyable ride most of the way but could have been even better if Beatriz Flores Silva's direction had more often risen above the functional and had not gotten a bad attack of conscience in the closing reels.
  26. Represents a passable follow-up to the venerable Peter Pan story and mercifully, at 72 minutes, is exactly half the length of the last attempt at same, Steven Spielberg's lamentable "Hook."
  27. Lee crafts actions and situations that are credible without being particularly engrossing -- recognition doesn't necessarily translate into absorbsion.
  28. Some viewers may feel as though, instead of watching a feature, they're paging through a book of rough sketches by a deranged Disney alumnus.
  29. Never quite catches fire in its too-deliberate attempt to appeal to all ages and all tastes.

Top Trailers