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. The King of Kings
    The King of Kings is a serviceable if uninspired take on a story told countless times in just as varied formats.
  2. Die My Love
    By the time Die My Love reaches its voluptuously incendiary yet somehow rather rote ending, you may wish you were watching a different movie.
  3. Everything's Going to Be Great
    Everything’s Going to Be Great is a ramble, an unconvincing grab bag, a domestic tall tale with too much stuffed into it.
  4. Little Buddha
    Little Buddha is a visually stunning but dramatically underwhelming attempt to forge a bridge between the ancient Eastern religion and modern Western life. Bernardo Bertolucci's second foray into remote Asian territory is considerably less successful than his first, "The Last Emperor," as the double narrative is awkwardly structured and never comes into sharp focus.
    • 71 Metascore
    • 40 Critic Score
    Blackmail
    Blackmail is most draggy. It has no speed or pace and very little suspense.
  6. Anemone
    As you watch the film, though, it’s amazing how things that should mean a lot could come to so little, including the return of Daniel Day-Lewis.
  7. Alpha
    It’s painful to watch such talents pour so much into roles that are fairly common, if not clichéd by American indie standards.
  8. Fuori
    Martone’s repetitive, tediously non-linear film attempts something more impressionistic and expansive, with emotionally muted and sometimes strangely exploitative results.
  9. Eleanor the Great
    Johansson, however, while she does a perfectly efficient job of directing, doesn’t hone the tone of her scenes. She keeps the whole thing earnest and rather neutral in a plot-driven way, with Squibb as her wild card.
  10. The Man in My Basement
    The result is a tale made up of numerous endpoints and thematic conclusions, whose dots don’t feel meaningfully connected, and whose situational oddities rarely yield excitement or intrigue.
  11. My Oxford Year
    What should be a tender, feminist-minded story centered on a young woman rediscovering her dormant childhood dreamer turns into a middling melodrama about being with a cute guy in desperate need of her rescue.
  12. North
    Ultimately, its message is the familiar "there's no place like home." But rather than creating a modern "Wizard of Oz," this noble misfire just barely manages to pull back the curtain and reveal the man manipulating the image.
    • 56 Metascore
    • 40 Critic Score
    Ghosts of Mississippi
    Tepid and two-dimensional in the manner of many telepics, this “Ghost” bodes to haunt the vid shelves after a short theatrical life.
  14. Guns & Moses
    Guns & Moses can be accused of implausibility, tonal missteps and sporadic heavy-handedness — but you can’t say it lacks chutzpah.
  15. Anaconda
    The movie could have really used some of that anarchic, industry-skewering “Tropic Thunder” energy. The only risk taken here was asking Sony — plus any surviving members of the original cast — to poke fun at themselves, which only goes so far when the film has no fangs.
    • 63 Metascore
    • 40 Critic Score
    Three on a Match
    It amounts to a picture which has tried but failed to photographically decipher four characters. [01 Nov 1932, p.12]
    • Variety
  17. 100 Nights of Hero
    It’s a gorgeous-looking film, but a drag.
    • 61 Metascore
    • 40 Critic Score
    Isle of the Dead
    Isle of the Dead is a slow conversation piece about plagues and vampires on an eerie Greek island. It's better handled and directed than most though thriller fans will still find its lack of action a drag. Even Boris Karloff fans will note the tired way he rambles through it all.
  19. Violent Ends
    Writer-director John-Michael Powell maintains a likably low-key interest in the local flavor of his home state, but it’s small potatoes in terms of personality. His self-serious approach proves a terminal match for his crime yarn’s familiar, simplistic plotting.
  20. Scream 7
    Simply put, Scream 7 isn’t very scary, and it isn’t very inventively gory (which some of the sequels have been).
    • 52 Metascore
    • 40 Critic Score
    In the Grey
    Ritchie goes relatively easy on the joy-of-killing stuff, at least until the climax, and there’s an engaging couple of minutes en route thanks to the simplest, cleanest action filmmaking the film has to offer: a chase involving motorcycles, police cars and some proficient editing.
  22. Merv
    Sadly, the film doesn’t live up to its charming premise, spending most of its runtime chasing its own tail with pointless jokes and dog-related puns that are only mildly amusing, along with an undercooked love story that doesn’t know how to steal our hearts.
  23. They Will Kill You
    The twists of its premise soon end up souring it conceptually, resulting in rapidly-diminishing returns, with derivative formal flourishes that largely recall other, better films. It is, by the time its credits roll, completely exhausting.
  24. In the Blink of an Eye
    Both as drama and as science fiction, In the Blink of an Eye doesn’t probe these questions, but rather, drops definitive answers like anvils, leaving little room to ruminate, wrestle, or consider.
  25. Remarkably Bright Creatures
    Heavy on benevolent feeling and shy of outright human conflict, the film floats and sprawls and spirals like the creature to which it’s glowingly in thrall, but a bit of spine wouldn’t go amiss.
  26. Pretty Lethal
    Pretty Lethal is a wonderfully original idea, but its execution falls flat.
  27. You, Me & Tuscany
    You, Me & Tuscany passes the time painlessly enough, but it’s never quite the escape it wants to be: It’s packaged so familiarly and so cautiously, we hardly believe its celebration of free, restlessly wandering impulse.
  28. Parallel Tales
    The movie manages to be rigorously muddled despite not being all that complicated. Maybe that’s because the tales it tells are parallel in such a sodden way. It feels like they’re competing to underwhelm you.
  29. Happy Tears
    A contradictory creature, both insightful and dumb, sometimes innovative and sometimes just plain inept. Dreamy, funny but also weirdly disjointed, it’s as if the very film itself were stoned, just like its two pot-smoking sister protags.
  30. The Boondock Saints II: All Saints Day
    Feels larger in scope yet sorely lacking in originality.
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