Variety's Scores

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For 17,794 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 2.4 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: 9,142 out of 17794
  2. Mixed: 7,015 out of 17794
  3. Negative: 1,637 out of 17794
17794 movie reviews
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  1. The Loft
    The five leads earn kudos for their ability to come across as something approaching credible.
  2. Winnie Mandela
    Decently acted despite screenplay shortcomings.
  3. Instructions Not Included
    Instructions Not Included is a sporadically amusing but unduly protracted dramedy that slowly — very slowly — devolves into a shameless tearjerker during its third act.
  4. McCanick
    If the drably derivative, infuriatingly improbable police drama McCanick is remembered for anything, it will be for its uniformly overqualified cast.
  5. Mission Park
    The movies by their very nature require a certain suspension of disbelief, but Mission Park requires more suspension than a two-ton crane could provide.
  6. Concussion
    Acquitting herself capably in a lead role that strips her bare in more ways than one, Robin Weigert (HBO’s “Deadwood”) proves worthy of a future in features, whereas first-time writer-director Stacie Passon mainly exposes her background in commercials.
  7. Grace Unplugged
    The makers of Grace Unplugged deserve at least some credit for resisting temptations toward melodramatic excess.
  8. Devil's Knot
    Devil’s Knot only occasionally feels weightier than a high-end Lifetime original or “Law & Order” episode.
  9. Are You Here
    One dead giveaway that the comedy isn’t working is the film’s score, which overcompensates throughout by attempting to bolster every second with bouncy energy.
  10. Arise
    Despite an impressive global scope and admirable ethnic diversity among the interview subjects, the central thesis that women are leading the charge on green issues receives nothing but anecdotal support.
  11. The Last Days on Mars
    While it earns high marks for Jon Henson’s production design, this murkily derivative sci-fi-horror entry sets its sights disappointingly low in terms of story and ideas.
  12. Addicted
    The sudsy quality of the production ensures all the performers look terrific, but aren’t given particularly impressive material to work with.
  13. Sal
    While Sal means to honor its subject, it’s too clunky and amateurish to really illuminate him.
  14. Wedding Palace
    Too many stretches of Wedding Palace are so garishly lit and broadly overplayed that they seem more cartoonish than the actual animated sequences that pepper the live-action production. That’s a pity, since this indie romantic comedy is not without its minor charms during its infrequent quiet moments.
  15. In the Heart of the Sea
    In the Heart of the Sea feels stiff and unconvincing, weirdly devoid of texture, and populated by ciphers who speak primarily in the leaden language of exposition.
  16. In Secret
    Serviceable but uninspired, this latest version of Emile Zola’s much-adapted 1867 novel “Therese Raquin” sends its characters to their doom on schedule without stirring much sense of tragedy or emotional involvement.
  17. Horrible Bosses 2
    This inane and incredibly tasteless sequel qualifies as an excuse to bring back those hard-working funnymen Jason Bateman, Charlie Day and Jason Sudeikis for another round of amateur-criminal hijinks and semi-improvised vulgarity, jabbing away repeatedly at some elusive comic sweet spot where blatant nastiness and egregious stupidity collide — and very occasionally hitting the mark.
  18. Besharam
    Kashyap relies completely on star Ranbir Kapoor to put over this relentless reiteration of cliches and, admittedly, the actor invests his aggressively tasteless, crotch-grabbing antics with enough energy and humor to make it palatable, but only just.
  19. Cooper and Hemingway: The True Gen
    Once Mulholland has established that both men hark back to a bygone, Teddy Roosevelt-fostered image of laconic masculinity, his peculiar vantage point generates little insight into the psychology and accomplishments of either man, as “The True Gen” abandons biographical logic in favor of a catalogue of arbitrary differences and similarities.
  20. Hellbenders
    Hellbenders becomes what it intends to burlesque, and that’s not so damn funny, even with 3D gimmickry.
  21. Last Love
    Last Love sticks to a flaccid middle ground lacking any real drama or pathos.
  22. Our Day Will Come
    Once it’s evident that there’s hardly a point to all the random mischief — or that the point is precisely that there isn’t one — the idea of watching a pair of grown men inflect violence upon innocent bystanders feels awfully tedious
  23. Son of God
    A clumsily edited feature-length version of five episodes from History’s hugely popular 10-hour miniseries “The Bible,” this stiff, earnest production plays like a half-hearted throwback to the British-accented biblical dramas of yesteryear, its smallscreen genesis all too apparent in its Swiss-cheese construction and subpar production values.
  24. Victor Frankenstein
    This reimagining features some fun production design and a performance of undiluted bug-eyed flamboyance from James McAvoy as the titular pale student of unhallowed arts, but its reservoirs of energy and ingenuity run dry long before the finale, leaving the film to lumber to its half-hearted conclusion.
  25. One Chance
    What keeps One Chance plugging along almost in spite of itself are the warmly engaging performances of Corden and Alexandra Roach.
  26. The End of Time
    Intermittently interesting but more often pretentious, this sluggish exploration of time as real and conceived concepts rarely does more than regurgitate philosophical platitudes without locating the depth to make them interesting.
  27. Immigrant
    The storyline develops so erratically that it lacks any internal momentum, with some scenes unfolding in exhaustive detail and others seemingly missing, as if whole chunks had been shot and later edited out.
  28. The Ghosts in Our Machine
    This off-putting pic requires open minds and iron nerves.
  29. Faust
    [A] film with a maddeningly opaque narrative and a brutalizing cascade of nonstop verbiage.
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