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. A sub-Tennessee Williams potboiler triangle between restless sexpot, impotent husband, and hunky handyman ever-so-slowly congeals into a lumpy gumbo of thriller elements in Grand Isle.
  2. It’s a softheaded piece of morbid romantic treacle — two parallel cloying love stories for the price of one.
    • 29 Metascore
    • 60 Critic Score
    Managing to transcend the formulaic plot are Frewer and Bergin, whose performances make the film work. Frewer, reunited with his “Max Headroom” director, Farhad Mann, veers from the real — and still somewhat dull-witted — Jobe to the megalomaniacal virtual Jobe without missing a beat.
  3. With its general tone of inspirational uplift that’s too often spelled out in dialogue rather than felt, The Great Alaskan Race bears the same relation to “faith-based entertainment” that it does to action-adventure cinema: It gestures in that direction, yet doesn’t actually make the commitment.
  4. So fatally frontloaded with endless training montages, awfully written, indifferently acted drama, sports-film platitudes and jaw-dropping product placements that only the hardiest of viewers will make it through to the payoff.
  5. Hurry Up Tomorrow bears all the signs of pop star hubris masquerading as artistic candor, despite game performances by Jenna Ortega and Barry Keogan to prop up the budding thespian.
  6. Generally speaking, Goodwill doesn’t seem to know how to direct his cast, focusing more on big-picture details like the look and feel of the film. That makes for a frightfully uneven mix of acting styles, many of which are all too obviously from first-timers.
    • 29 Metascore
    • 30 Critic Score
    Cannon’s remake of King Solomon’s Mines treads heavily in the footsteps of that other great modern hero, Indiana Jones – too heavily. Where Jones was deft and graceful in moving from crisis to crisis, King Solomon’s Mines is often clumsy with logic, making the action hopelessly cartoonish. Once painted into the corner, scenes don’t resolve so much as end before they spill into the next cliff-hanger.
  7. Boorish and crass, homophobic and misogynistic, the very definition of sloppy seconds — par for the course where the present generation of male-driven, R-rated, “Hangover”-aping franchise comedies are concerned. That it somehow manages to send you out of the theater feeling tickled rather than sullied may be a mystery as impenetrable as the cosmos.
  8. Provides enough cheap thrills and modest suspense to shake a few shekels from genre fans before really blasting off as homevid product.
  9. The thing-a-ma-jigs have it out with the whatch-a-ma-call-its -- as several humans scurry and scream between -- in Alien Vs. Predator, the kind of two-for-one dogfight (last repped by "Freddy Vs. Jason") that usually does more to bury a franchise than revive it.
  10. A chiller resolutely without chills, in which even the pool water always seems heated. And inasmuch as the pic never owns up to its own trashiness, it's not even enjoyable camp.
  11. As generic as its title.
  12. A genially haphazard but frequently amusing neo-stoner comedy that plays like "Cheech and Chong Go to Animal House."
    • Variety
    • 29 Metascore
    • 90 Critic Score
    A charming, witty, passionate romantic drama about a love transcending space and time, Somewhere In Time is an old-fashioned film in the best sense of that term. Which means it's carefully crafted, civilized in its sensibilities, and interested more in characterization than in shock effects.
  13. Steamier and sleeker than a Hallmark Channel movie, but with just as many idealized scenarios, it’s “so bad, it’s good” escapism at its finest.
  14. Like "300" and "Apocalypto," this latest bit of historical balder-dash stands in direct defiance of proven action-movie formulas, trusting its brutal concept and striking visuals to overcome a lack of star power.
  15. The fact that the film isn’t quite boring is about the most one can say for it.
  16. A Lifetime movie on crack, The Quiet dredges up every lurid cliche from the well of teen hormonal havoc in a tale of dysfunctional family meltdown that seems unsure whether to push for suburban-Gothic psychosexual excess or tongue-in-cheek malevolence.
    • 29 Metascore
    • 30 Critic Score
    A brainless plot would be almost forgivable were it not for the perverse depiction of innocents butchered in Invasion U.S.A.
  17. Whether or not they’re familiar with the source property, kids are unlikely to be bothered: There’s just enough blaring sound and color to this knowingly silly tale of interplanetary derring-do to adequately offset its impersonal corporate sheen.
  18. Technically and comedically strained by the demands of its special effects-filled haunted house setting. Worse, the need to top the first pic's outlandish stunts is ghoulishly unfulfilled and terribly ironic.
  19. A listless romantic comedy that, almost out of desperation, turns a little more violent than necessary near the end.
  20. Woman Thou Art Loosed: On the 7th Day is crammed with enough melodramatic incident for three movies, all of them seemingly scripted by Tyler Perry in a very foul mood.
  21. This transparent piece of propaganda blatantly overplays its hand.
  22. Many of the actors give performances in line with their low profile here.
  23. Taking more than a dozen credits, including helmer-scribe, Jackie Chan emerges a Jackie-of-all-trades and master of none.
  24. Bringing together some of the least compelling dinner guests in recent memory at a world-class restaurant that’s about to permanently close its doors, this blandly seriocomic misfire from Spanish co-writer/director Roger Gual is too lazy to rise to the level of farce, too banal and insincere to work as drama.
  25. Bearing a distinctly musty odor confirmed by its 2011 copyright date, this day-and-date Lionsgate pickup never achieves dramatic liftoff.
  26. Intermittently enjoyable hokum at best.

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