Variety's Scores

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:
17847 movie reviews
  1. Too much contemplation and not enough demonstration sends Thai-socky Ong Bak 3 slumping to the canvas.
  2. Amiable to a fault, with gags both broad and gentle, Oliver Parker’s pic prompts sporadic chuckles rather than guffaws.
  3. Hayden and Perez do their best to generate sweetness and spark, but the obstacles separating these characters are as contrived as the cliches that animate them.
    • 38 Metascore
    • 50 Critic Score
    Everyone who saw it remembers ‘that scene’ from the original. Here, some of the boys get back at Balbricker by sending a snake up into her toilet.
  4. Not only is there nothing presently in the zeitgeist to which to peg such a story (except perhaps the Dane DeHaan-Cara Delevingne reunion nobody asked for, shot before “Valerian” and shelved for nearly a year), but the entire package has a curiously old-fashioned feel — and not just because it takes place 380 years ago.
  5. Murder Mystery feels as shamelessly gaudy as paste jewelry — a trinket for nights that aspire to nothing more exotic than a pizza — but Aniston sparkles like the real deal.
  6. Rather than stirring a debate, or even inspiring deeper cultural introspection, Sharrock and her collaborators deliver a trifle. For a satire about progress, “Ladies First” relies on far too many ideas from the past — cinematic even more than cultural.
  7. As long as Close is acting up an award-worthy storm (her performance is actually quite meticulous), Hillbilly Elegy is never less than alive. Adams does some showpiece acting of her own, but as skillful as her performance is, she never gets us to look at Bev with pity and terror.
  8. One can guess how the elements here might have been alluring on the page, but helmer/co-scenarist Michael Knowles' third feature doesn't find the distinctive tone needed to make its eccentric characters less than irksome and its plot more than arbitrary.
    • 38 Metascore
    • 30 Critic Score
    A one-joke sketch that doesn't work as a feature, Castle Rock's Amos & Andrew raises the question: "How did this film ever get made?" Few audience members will sit through its entirety to ponder that issue.
  9. Won't linger in the memory long, but gives pretty good action eye-candy while it's going.
  10. Josh Stolberg launches a scalding attack on the stodgy conservatism of the American public school system, only to end up stacking the deck in egregiously smirky and simple-minded ways.
  11. Her Private Hell is a disaster, but even that’s part of its hipster factor. The film practically announces that it’s too cool to be coherent.
  12. Forgettable PG-13 pic will particularly strike fans of harder-edged recent horror pix as much ado about not much.
  13. Good-looking and entertaining, if unmemorable.
  14. It’s jammed with spoof-genre history, but that makes it feel more exhausting than exhilarating. It’s a top-heavy satirical party that’s become so meta it’s meh.
  15. Despite the capable presence of Jason Patric in a thanklessly one-note role, this generic chiller clings so tightly to conventions that it fails to even moderately raise one’s pulse
    • 38 Metascore
    • 60 Critic Score
    Director John Flynn does a fair job of keeping the minimal storyline crawling along well enough to justify all the mayhem. Too bad the climactic confrontation doesn’t justify the build-up. Stuntwork, however, is first rate, and Seagal remains a convincing action figure.
  16. A vulgar, Z-grade variant on last year's "Mystery Men" for those who didn't get their fill the first time around.
  17. An ideal rainy day matinee attraction for well-to-do ladies of a certain age.
  18. Sandler turns the joke around on his detractors and manages to lead a devilishly energetic vehicle that contains about as many laughs as his previous features combined.
  19. Suffers from the same rancid dialogue and acting problems as the original but with a much funnier pulse. The real progenitor here is less the previous pic than the sick-funny horror cinema of George Romero.
  20. Hampered by thinly developed characters and pedestrian plotting.
  21. There's little chance of grabbing teens (or even many tweens) during summertime playdates. Still, small fry will be enchanted by this rambunctious action-adventure.
  22. A ludicrous melodrama that begs to be handled as an over-the-top sex farce is instead treated with the solemnity of a wake, albeit one with a rather lenient dress code.
  23. Devoid of characters or a story about which one might care, Psychopaths proves to be a fright-free pastiche without purpose — save, that is, for unimaginatively paying homage to a string of superior genre predecessors.
  24. In the case of The Addams Family 2, Tiernan and Vernon have used the sequel as an opportunity for an upgrade. The script is by an entirely new team (Dan Hernandez, Benji Samit, Ben Queen, and Susanna Fogel), and in some ineffable bats-in-the-belfry way the jokes now land with a more inspired and spontaneous creepy kookiness.
  25. Stellar thesps gamely strive to elevate the one-note material, but gravity ultimately defeats them in this relentless downer.
  26. A literary film that stands to work best for those who don't read, The Words is a slick, superficially clever compendium of stories about authors of uncertain talent and varying success.
    • 37 Metascore
    • 40 Critic Score
    Like a shopworn wedding gown disguised with a new sash, Made of Honor feels recycled from top to bottom. That's because it's essentially a gender-swapped version of "My Best Friend's Wedding."

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