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. 2067
    The result is a movie that seems unaware just how generic the should-be-distinguishing details of its earnest eco-cautionary tale have turned out.
    • 39 Metascore
    • 20 Critic Score
    An Innocent Man
    This collection of cliches accomplishes the almost unthinkable by bringing the prison genre to a new low.
  3. About My Father
    Maniscalco hasn’t quite proven he can carry a movie that’s not inspired by or “about” him, but this first effort is charming and earnest enough to encourage viewers to meet him where he’s currently at in his career.
  4. Consenting Adults
    Consenting Adults initially seems a little brainier than its brethren but soon gives way to the same cavernous lapses in logic and formula ending, though the cast and clear appeal of the genre could insure a strong opening and modest long-term box office life.
  5. Clash of the Titans
    This "Titans" reboot merely demonstrates that building a more elaborate mousetrap doesn't necessarily produce a more entertaining one.
  6. Irene in Time
    Breezy and indulgent, his is a style that lives or dies on the appeal of his characters and performers, and this time he is mostly let down by both.
  7. The Goods: Live Hard, Sell Hard
    The movie simply doesn't deliver -- living hard, selling hard and, before it's over, finally dying hard.
  8. Rodin
    Rodin is a meticulously reverential, handsomely lit and very dull biopic.
  9. Why Him?
    It’s bluntly cheeky, it goes on for too long, but the concept keeps on giving.
  10. Jexi
    Lucas and Moore write some whiplash funny lines, and since the film is just a throwaway, you can enjoy it on a trivial synthetic revenge-of-the-nerd level.
  11. The Green Hornet
    The film is a blast.
  12. Nobody's Fool
    In Nobody’s Fool, Tiffany Haddish is just furious and funny enough to make you wish that the rest of the movie wasn’t a droopy romantic comedy without the comedy.
  13. The Wedding Weekend
    Trite, sententious and generally unfunny.
  14. St. Trinian's
    Mildly amusing result, with plenty of slack in its 100 minutes, should work OK with its target audience of female Brit tweenies, who won't notice the pic's shoddy technical package, sloppy direction and the way the original films' antiestablishment tone has morphed into a celebration of dumbed-down "yoof" culture.
  15. Just a Kiss
    The helming debut of thesp Fisher Stevens, who mixes swell ensemble acting with eye-popping animation for a witch's brew of good sex, bad timing and very funny dialogue.
  16. Bringing Down the House
    There are certainly good laughs to be had. But the contrived script and bland direction prevent the film from ever developing a comic life of its own, leaving what fun there is seeming like the foundation to a rumpus room that's never finished.
  17. Bait
    A B movie in A-grade clothing.
  18. Grace Unplugged
    The makers of Grace Unplugged deserve at least some credit for resisting temptations toward melodramatic excess.
  19. After the Ball
    This basic-cable-quality farce is as unobjectionable as it is unmemorable.
  20. The Barber
    The Barber is a slick but ultimately underwhelming psychochiller.
  21. Zipper
    Tawdry but cripplingly self-serious, the second feature from Mora Stephens (a full decade after her little-seen, also politically themed debut “Conventioneers”) benefits from Patrick Wilson’s committed star turn.
  22. Mohenjo Daro
    The prosaic script feels far too derivative, and only the impressive rain-lashed finale succeeds in delivering that tingly thrill one expects from historical action epics.
  23. First Kill
    Frankly, if forced to bet between John McClane and Anakin Skywalker, I’d take the “Die Hard” tough guy every time, but that’s just the underdog factor Miller is going for, staging a reasonably entertaining series of off-road chases and backwoods shootouts en route to that final confrontation.
    • 39 Metascore
    • 50 Critic Score
    American Ninja 2: The Confrontation
    Script by actors Gary Conway (who plays the narcotics overlord) and James Booth trades heavily upon the notion of Americans inherent mental and physical superiority to native warriors, who are a dime a dozen, but in such a comic way that the viewer can laugh with it rather than at it.
    • 39 Metascore
    • 70 Critic Score
    The Concorde... Airport '79
    Unintentional comedy still seems the Airport series' forte, although excellent special effects work, and some decent dramatics help Concorde take off.
    • 39 Metascore
    • 40 Critic Score
    Woman of Straw
    Director Basil Dearden seems, here, to have temporarily misplaced the vigorous insight that has earned him some top credits. Best that can be said of Straw [from the novel by Catherine Arley] is that it looks handsome. But the film gets bogged down by stilted dialog and by the situations.
  27. The Family Plan
    Each setpiece is composed and paced much like the last, which only amplifies the sense of Dan as some kind of unflustered, largely unsympathetic man-machine, paused only by the script’s fleeting interpersonal conflicts.
  28. Founders Day
    There are enough formulaic elements, especially teens meeting gory deaths, to keep undiscerning viewers in their seats. But the script (co-written by Erik and sibling Carson) stumbles in its climactic revelations, with an even worse epilogue bound to send patrons out rolling their eyes in unamused disbelief.
  29. Abraham's Boys: A Dracula Story
    As the celluloid universe spun from Bram Stoker’s “Dracula” continues to accrue remakes, spin-offs, addendums and miscellany, “Boys” does provide one potentially compelling footnote. But its execution feels like a missed opportunity.
  30. Saint Clare
    Despite a stronger premise this time, “Clare” echoes the filmmaker’s prior feature in remaining on a highly worked surface — one that doesn’t illuminate people and events so much as treats them like decorative pawns in a game whose rules, as well as its casualties, ultimately feel inconsequential.
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