Variety's Scores

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For 17,760 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: 9,121 out of 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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    • 58 Metascore
    • 70 Critic Score
    Green Card
    Although a thin premise endangers its credibility at times, Green Card is a genial, nicely played romance.
    • 57 Metascore
    • 70 Critic Score
    Not Without My Daughter
    Sally Field has the stage to herself to engage the audience’s sympathy, and this she does with an earnest, suitably emotional performance as a rather typically sincere, middle-class American.
    • 44 Metascore
    • 50 Critic Score
    Warlock
    Warlock is an attempt to concoct a pic from a pinch of occult chiller, a dash of fantasy thriller and a splash of 'stalk 'n' slash'. But what could have been a heady brew falls short, despite some gusto thesping from Richard E. Grant and Lori Singer.
    • 60 Metascore
    • 90 Critic Score
    The Godfather: Part III
    Part III matches its predecessors in narrative intensity, epic scope, socio-political analysis, physical beauty and deep feeling for its characters and milieu.
    • 67 Metascore
    • 70 Critic Score
    Alice
    Performances are strong all around, with a succession of top actors making the most of their brief turns. But the center of the pic is Farrow, who’s funny and touching.
    • 61 Metascore
    • 40 Critic Score
    Kindergarten Cop
    The polished comic vision that gave Twins, Arnold Schwarzenegger's comedy breakthrough, a storybook shine completely eludes director Ivan Reitman here. Result is a mish-mash of violence, psycho-drama and lukewarm kiddie comedy.
    • 73 Metascore
    • 70 Critic Score
    The Long Walk Home
    An effectively mounted drama about the human impact of changing times on two families, with sturdy performances by Sissy Spacek as an uppercrust white housewife and Whoopi Goldberg as her maid.
    • 27 Metascore
    • 20 Critic Score
    The Bonfire of the Vanities
    Unfortunately, the caricatures are so crude and the ‘revelations’ so unenlightening of the human condition, that the satire is about as socially incisive as a Police Academy entry.
    • 67 Metascore
    • 70 Critic Score
    The Russia House
    John le Carre's glasnost-era espionage novel has been turned into intelligent adult entertainment, but somber tone, utter lack of action and sex, and complexity of plot tilts this mainly to upscale audience.
    • 56 Metascore
    • 60 Critic Score
    Mermaids
    As eccentric mother-daughter films go, this one [from the novel by Patty Dann] falls into the same category as Terms of Endearment, with many of the same comedic pleasures and dramatic pitfalls. The delightful Ryder, billing notwithstanding, is really the star. Cher is also fine as the cavalier, self-centered mom, an equally amusing if less sympathetic character.
    • 74 Metascore
    • 90 Critic Score
    Edward Scissorhands
    A delightful and delicate comic fable.
    • 41 Metascore
    • 30 Critic Score
    The Rookie
    Overlong, sadistic and stale even by the conventions of the buddy pic genre.
    • 86 Metascore
    • 60 Critic Score
    The Grifters
    A curiously uneven movie.
    • 79 Metascore
    • 90 Critic Score
    Cyrano de Bergerac
    A winner by more than a nose, Cyrano de Bergerac attains a near-perfect balance of verbal and visual flamboyance. Gerard Depardieu's grand performance as the facially disgraced swordsman-poet sets a new standard with which all future Cyranos will have to reckon.
    • 75 Metascore
    • 80 Critic Score
    Misery
    Casting of Caan is effective, as his snide remarks and grumpy attittude are backed up by a physical dimension that makes believable his inevitable fighting back. Bates had a field day with her role, creating a quirky, memorable object of hate.
    • Variety
    • 63 Metascore
    • 50 Critic Score
    Eating
    The ladies who lunch - and munch, breakfast, binge, dine, diet, starve and sample - are delicious in Eating, but writer-director Henry Jaglom labors over the stove too long, harming a tasty souffle.
    • 73 Metascore
    • 80 Critic Score
    Mr. & Mrs. Bridge
    Mr. & Mrs. Bridge is an affecting study of an uppercrust Midwestern family in the late 1930s.
    • 46 Metascore
    • 60 Critic Score
    Predator 2
    While the film doesn’t achieve the same thrills of the final 45 minutes of Predator in terms of overall excitement, it outdoes its first safari in start-to-finish hysteria. The real star is the pic’s design. Writers don’t waste much time on character development.
    • 55 Metascore
    • 60 Critic Score
    Rocky V
    When the underdog always wins he's not much of an underdog anymore, and the narrative cartwheels Sylvester Stallone has turned over the years to put Rocky in that position have peeled away the novelty.
    • 68 Metascore
    • 50 Critic Score
    The Rescuers Down Under
    This sort-of sequel to the 1977 hit The Rescuers boasts reasonably solid production values and fine character voices. Too bad they're set against such a mediocre story that adults may duck.
    • 72 Metascore
    • 90 Critic Score
    Dances with Wolves
    Costner's directing style is fresh and assured. A sense of surprise and humor accompany Dunbar's adventures at every turn, twisting the narrative gently this way and that and making the journey a real pleasure.
    • 37 Metascore
    • 30 Critic Score
    Child's Play 2
    Child’s Play 2 is another case of rehashing the few novel elements of an original to the point of utter numbness.
    • 62 Metascore
    • 30 Critic Score
    Jacob's Ladder
    Jacob's Ladder means to be a harrowing thriller about a Vietnam vet (Tim Robbins) bedeviled by strange visions, but the $40 million production is dull, unimaginative and pretentious.
    • 65 Metascore
    • 90 Critic Score
    Vincent & Theo
    One of Robert Altman’s most cinematically conventional films as well as one of his most deeply personal.
    • 36 Metascore
    • 30 Critic Score
    Graffiti Bridge
    A half-baked retread of tired MTV imagery and childish themes.
    • 54 Metascore
    • 50 Critic Score
    Night of the Living Dead
    The story faithfully follows the original except for the bonehead decision to replace the ending with a ‘meaningful’ twist that reeks of pretentiousness.
    • 66 Metascore
    • 90 Critic Score
    White Palace
    Outstanding performances by Susan Sarandon and James Spader, working from a relentlessly witty script, make White Palace one of the best films of its kind since The Graduate (1967).
    • 51 Metascore
    • 90 Critic Score
    Quigley Down Under
    Quigley Down Under is an exquisitely crafted, rousing western made in Oz.
    • 55 Metascore
    • 90 Critic Score
    The Hot Spot
    Seeps with atmosphere, unfolds at a deceptively relaxed pace, steadily accumulates noirish grit, then dizzily plunges into a Lynch-like plumbing of the dark passions and nasty secrets at the heart of Main Street, USA.
    • 44 Metascore
    • 60 Critic Score
    Welcome Home, Roxy Carmichael
    Fans of Winona Ryder will definitely want to catch her in an offbeat role as the town rebel in this teen-oriented smalltown saga; unfortunately, the rest of the production doesn't quite match up.
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