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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    • 38 Metascore
    • 60 Critic Score
    Navy Seals
    Nifty performances make this routine action flick better than it probably has a right to be.
  2. Fools Rush In
    In a role that Tom Hanks might have played a decade or so ago, Perry is pretty bland and doesn't provide any hints as to why Alex is so emotionally stymied.
    • 38 Metascore
    • 10 Critic Score
    Scrooged
    Scrooged is an appallingly unfunny comedy, and a vivid illustration of the fact that money can't buy you laughs. Its stocking spilling with big names and production values galore, this updating of Dickens' A Christmas Carol into the world of cutthroat network television is, one episode apart, able to generate only a few mild chuckles.
  4. Otherhood
    While the filmmakers have crafted compelling characters and conundrums, they unfortunately fail to give them better connective tissue and a satisfying third act.
  5. America: The Motion Picture
    No aspect of history is off-limits here, the result being a grab bag of references, battles, and jokes that are constantly trying to one-up each other in terms of absurdity.
  6. Elliot: The Littlest Reindeer
    A would-be new “Rudolph the Red-Nosed Reindeer,” it’s energetic and polished enough to avoid feeling like a rip-off — “Santa and the Ice Cream Bunny,” this is not — but there the compliments pretty much end.
  7. Ode to Joy
    Mostly known for his behind-the-camera TV credits on shows like “Modern Family” and “1600 Penn,” Winer doesn’t bring much finesse into the generic visuals of Ode to Joy. In fairness to him, no amount of directorial elegance could have saved the artificial beats of a narrative that fails to create believable sexual tension between its “romantic” leads and amounts only to an utterly shallow showdown between brothers with long-standing scores to settle.
  8. The Medallion
    At times plays as if it were aimed at children, but more often simply seems to be aiming blind at whatever genre cliche the five credited writers fix upon in any given scene.
  9. Rugrats Go Wild
    Screechily abrasive and sorely lacking in elements that engage the imagination.
  10. A Dog of Flanders
    This Dog won't hunt. Although well crafted and handsomely mounted, pic lacks sufficient sizzle.
  11. Death to Smoochy
    Pushes its dark, smart, clever, cynical, satirical, nasty, provocative and sarcastic instincts to the point of heavily diminished returns -- to the point where the very amusing premise just isn't funny anymore.
  12. Don't Say a Word
    Generates tension from the get-go, albeit of an increasingly unpleasant variety, on its way to a disappointingly generic climax.
  13. The Pink Panther
    Neither the disaster one might have suspected nor a fully realized madcap farce; rather, Steve Martin's foray as Inspector Clouseau exhibits bursts of wild-and-craziness, but hardly enough to sustain even its relatively brief running time.
  14. Yours, Mine and Ours
    Generally pleasant family-friendly fare.
  15. Trailer Park Boys: The Movie
    Functions swimmingly as both a bigscreen inflation of smallscreen icons and a fairly hilarious stand-alone.
  16. Brake
    Mannion's script goes a bit too far in terms of twists, capping the third-act suspense with a plot U-turn, and then another, that leaves audiences feeling played. Worse, the final development loses credibility in retrospect, reducing the film to the level of an exercise in paranoia, effects and one actor's ability to hold attention for nearly 90 minutes.
  17. Curvature
    Part metaphysical thriller, part inquiry into scientific ethics and the morality of revenge, the sci-fi indie Curvature wants to get the heart racing and the mind bending simultaneously, but flatlines in both departments.
  18. Third Person
    Though virtually every twist on this emotional roller coaster feels preordained by its architect, the director leaves certain mysteries for the audience to interpret, making for a more open-ended and mature work all around.
  19. Men, Women & Children
    This painfully well-meaning but largely unpersuasive bid for cross-generational understanding feels at once of-the-moment and too obvious by half, like a less overblown version of “Crash” for the information superhighway.
  20. Devil's Peak
    Despite some good performances and vividly written characters, Devil’s Peak crumbles due to Penn’s inexperienced performance. Otherwise, it’s an entertaining drama with some grandiose ideas about family legacy that make it peculiarly compelling.
  21. Role Play
    The players are deft enough that a little more wit in the writing would have surely been well-served. (Nighy in particular makes much of relatively little.) And while briskly handled, none of the ideas here are fresh enough for Role Play to score points on narrative or character unpredictability.
    • 38 Metascore
    • 60 Critic Score
    The Frisco Kid
    Director Robert Aldrich has always adroitly mixed comedic and dramatic aspects in his films, and Frisco Kid is no exception. For audiences expecting Mel Brooks belly-laughs amidst the Yiddishisms, however, there’s bound to be disappointment.
  23. Crossing Over
    The way the picture dwells almost exclusively on cinematically exploitable elements -- gangbanger crime, prostitution, honor killing, terrorism paranoia -- gives it a sordid patina that even the classy, able thesps can't offset.
  24. Ben-Hur
    Minus a hero who has the macho charisma to wrap a movie around him like he owned it, the new Ben-Hur is an oddly lackluster affair: sludgy and plodding, photographed (by Oliver Wood) in nondescript medium close-up, an epic that feels like a mini-series served up in bits and pieces.
  25. Midnight Sun
    The trouble isn’t just that Midnight Sun cherry-picks the most poetic elements of a real-world disease to serve its transparently manipulative ends, but that it offers audiences such an unrealistic portrait of romance in the process.
  26. Jurassic World Dominion
    Of the three “Jurassic World” movies, “Dominion” is the least silly and most entertaining. But that’s not saying much. This “stop to ask if they should” cycle’s human characters were never especially interesting, and why should we trust Trevorrow to suddenly make them so?
  27. Double Parked
    The picture is stronger the closer it sticks to the streets and raw emotions and the more it avoids routine dramatic crutches and forced comedy.
    • 38 Metascore
    • 40 Critic Score
    Uncommon Valor
    All of the top talent involved - especially Gene Hackman - is hardly needed to make Uncommon Valor what it is, a very common action picture.
  29. Fakers
    Despite engaging performances from a cast led by Matthew Rhys and Kate Ashfield and pro direction by first-timer Richard Janes, yarn about art grifters lacks real snap, which ultimately stems from the so-so script and lack of real coin.
  30. The Changeling
    As a stripped-to-essentials "canned theater" version of a classic Jacobean drama, The Changeling likely will prove most useful as a teaching tool in college-level drama courses.
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