Variety's Scores

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For 17,786 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: 9,137 out of 17786
  2. Mixed: 7,013 out of 17786
  3. Negative: 1,636 out of 17786
17786 movie reviews
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  1. Gone in the Night
    What at first looks like a standard missing-person suspense tale turns out to have a more complicated agenda — but it is so haphazardly advanced and clumsily articulated, the film itself seems to be fumbling around for a cohering structure or mood.
  2. The Cellar
    Writer-director Brendan Muldowney’s latest lacks the thick atmospherics that might have punched across a sketchy screenplay, which falls short in expanding the premise of his 2004 short “The Ten Steps.”
  3. Till
    It would take a tough constitution not to be moved by Till, although that doesn’t necessarily make it great drama.
  4. Corner Office
    Like head-in-the-clouds Orson, Back’s debut feature imagines more for itself than others can see, though only the latter has earned a shot at another job.
  5. Hello, Goodbye and Everything in Between
    Even though this Netflix original doesn’t condescend to its targeted teen audience, it fails to surmount basic issues dealing with narrative credulity and the outcome’s predictability.
  6. Persuasion
    Cracknell approaches the project with confidence and a clear (if clearly derivative) vision. Her compositions are striking and swooningly romantic at times, though she has a curious idea of Anne Elliot.
  7. Bardo, False Chronicle of a Handful of Truths
    So why is “Bardo,” for all its skill, reach-for-the-stars aspiration, and majestic sweep, such a windy, confounding, and — okay, I’ll just say it — monotonous experience? The movie is full of good things, but it’s three hours long and mostly it’s full of itself.
  8. The Invitation
    The predictability of events during the film’s first hour of gothic-thriller setup is all the more annoying because of the plodding pace. Evie finally stands up for herself during some modestly clever third-act turnabouts, but, really, that’s not quite enough to regenerate a rooting interest in the character.
    • 42 Metascore
    • 40 Critic Score
    Stereo (Tile 3B of a CAEE Educational Mosaic)
    Basically a student effort (Cronenberg was 26), pic tests the viewer’s patience and endurance even with its hour’s running time due to its emphatically dry, scientific narration and deliberate emotional distancing.
  10. Rodeo
    Rodeo is a movie that’s all surface, all present tense, all too-cool-to-be-anything-but-French-vérité gestures.
  11. Brother and Sister
    Alice and Louis are such artificial, wanly self-absorbed characters, forever speaking in finely turned, therapy-honed aphorisms that never sound anything other than screen-written, that it’s hard even to invest in their conflict at an abstract level.
  12. Steel
    Writer-director Kenneth Johnson provides a tinny story and a leaden pace for his tarnished titan. There’s a coziness and simplicity to the production that would be better served on TV. Cinema-size, it comes off as corny, antiquated and slightly cheesy.
  13. Disenchanted
    Obvious in its comedy, at once overblown and undernourished in its fantasy, Disenchanted, at times, is like a kiddified “Don’t Worry Darling” crossed with “Cinderella Strikes Back.” At others, it’s a light show in search of a movie. The visual effects are all swirling sparkles and sprouting vines, but the real problem is that the film has a pandering impersonality, along with the busy skewed logic of a metaverse.
  14. Pinocchio
    Roping a game Tom Hanks into the fold as the kindly woodworker Geppetto, and employing countless digital artisans to recreate the iconic character design of the protagonist to eerily lifeless effect, “Pinocchio” is a lavish yet hollow retread that will surely give the original a boost when it arrives on Disney+ this weekend.
  15. Alone Together
    The film’s low-key charms, such as they are, aren’t restrained by adherence to formula so much as its myopic worldview.
  16. Glorious
    Even at 80 minutes, Glorious feels four times too long for what it is.
  17. Daylight
    Daylight is a lower-echelon disaster thriller, in which the best character is knocked off early on and the leading man runs out of ideas with a third of the picture still to go. Noisy, technically proficient actioner about a group of people trapped in the Holland Tunnel after an explosion gets off a few decent blasts, but is just too limited in scope, imagination and excitement to burst out as a major B.O. winner domestically.
  18. Mulholland Falls
    Mulholland Falls is a "Chinatown" wannabe that comes up short in every department. Although loaded with talent on both sides of the camera, this sex-and-corruption-drenched mystery meller about a big official cover-up in postwar L.A. simply feels underachieved, as it lacks the heady atmosphere, tasty intrigue and dramatic punch the alluring premise would seem to promise.
  19. End of the Road
    Director and cast do their best — well, maybe not their best, but their competent professional duty — with a formulaic, contrived screenplay. Still, the results do no one much credit, landing closer to overripe cheese than taut suspense, or even guilty-pleasure terrain.
  20. Terrifier 2
    Terrifier 2 is essentially a series of grotesque homicidal set pieces stitched together into a threadbare narrative of midnight funhouse clichés.
  21. Luckiest Girl Alive
    Because of its unwieldy aspects, primarily those shoe-horned into the climax, its simplistic conclusion draws ire instead of the inspired elation these filmmakers crave.
  22. The Pale Blue Eye
    The Pale Blue Eye wants to get into the 19th-century darkness, but it’s suffocatingly somber and static. The film showcases its two investigators in an ostensibly enigmatic dance-of-the-seven-frontier-high-collars way, but for much of the movie we’re a step ahead of them.
    • 72 Metascore
    • 40 Critic Score
    There Was a Crooked Man...
    It is the type of action drama in which neither the actors nor director appear to believe the script or characters.
  24. Master Gardener
    Master Gardener is all fingers and thumbs for much of its running time, kept sporadically in order only by the stern, trusty presence of Edgerton himself.
    • 57 Metascore
    • 40 Critic Score
    The Life and Times of Judge Roy Bean
    The overkill and the underdone do it in.
  26. The Enforcer
    Reaching for the grandiose, it never grasps anything beyond the generic.
  27. Kraven the Hunter
    The action in Kraven the Hunter is fine as far as it goes, but it rarely incites or bedazzles you.
  28. Magic Mike's Last Dance
    “Toothless” probably isn’t the first word Magic Mike fans want to associate with Channing Tatum’s aging exotic dancer series, but there’s no denying the female-targeting franchise has dulled its bite over the past decade.
    • 47 Metascore
    • 40 Critic Score
    The Mephisto Waltz
    Main fault is a tired script with more than a full quota of arch, laughable dialog, spouted with relish by performers struggling to keep their heads above water.
  30. Sharper
    A deep ensemble cast is game for this ambitiously overwrought material, but no amount of committed acting can overcome the movie’s manipulative artifice.
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