Variety's Scores

For 17,782 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:
17782 movie reviews
  1. Screechily abrasive and sorely lacking in elements that engage the imagination.
  2. A remarkably boring comedy.
  3. Mixes a rites-of-passage story with political and sexual elements to solid but finally uninvolving results.
  4. Overall, though, the slapdash pic appears to be the work of folks who made things up as they went along; you might say they were, well, vamping.
  5. Defiantly uncommunicative picture.
  6. Universal’s attempt to find gold by bringing to new life one of the mustier items in its vaults is pure hokum and scarcely of the first order.
  7. Lightning fails to strike twice -- an underwhelming follow-up to one of the career-stalled action star's better efforts.
  8. A shallow, only mildly entertaining satire
  9. This tale of mismatched lovebirds begins with considerable charm but eventually loses its winning ways with an excess of ridiculous elements.
  10. This is the kind of movie that was doomed on the page, both by an inherently problematic premise and ill-conceived character motivations.
  11. Apocalyptic gobbledygook.
  12. Although Erica Beeney's script beat out more than 7,000 entries, the screen version dulls her potentially distinctive voice with deadly doses of sentimentality.
  13. Further proof that titular antagonist Jason Voorhes is ready for retirement -- to videostore shelves.
  14. Part comedy, part family drama, part romance, part special-effects mystery-adventure, and not entirely satisfying on any of these levels, this hodgepodge suffers from the conflicting sensibilities of its three credited scripters: Robin Swicord, who has done good work before, Akiva Goldsman, who has not, and Adam Brooks.
  15. Johnson (who scripted "Grumpy Old Men") flattens out any promise so completely that the feature resembles nothing so much as a subpar "Hallmark Hall of Fame" entry.
    • 66 Metascore
    • 30 Critic Score
    Does director John Hughes really believe, as he writes here, that 'when you grow up, your heart dies.' It may. But not unless the brain has already started to rot with films like this.
  16. A valiant but seriously flawed attempt to belie the notion that if you remember what you did in the '60s, you weren't there.
  17. There seems to be no bottom to Going Down, a lame also-ran in the rapidly declining teen gross-out comedy genre.
  18. Game ride that makes the two previous installments look like models of classic filmmaking.
  19. Uncertain whether to go for straight suspense or gross-out effects, genre in-joking or schlock cinema-of-parodic-excess, Eli Roth's backwoods horror opus Cabin Fever seldom sticks with any one tactic.
  20. Initially promising, but quickly disappointing.
  21. Despite its occasional visual interest, avant-garde package is far from the accessible tortured-artist portrait helmer essayed 15 years ago in "Vincent." Even committed dance and experimental cinema fans are likely to find this rough sledding.
  22. Feels like a prolonged episode of "Power Rangers" minus the colorful costumes. Whatever charm the original had was clearly lost in translation, resulting in a tedious exercise that 6- to 10-year-olds may find mildly diverting.
  23. The strongest dimensions of this self-conscious but centerless film are four sexy actresses parading in colorful costumes and Amy Vincent's radiant lensing, which makes the picture seem hipper than it is.
  24. Pic has a stagy, boxed-in feel. Both visually and energetically, it suggests something that has been done onstage to the point of mechanized repetition. And even though Whaley is supposed to be playing a disillusioned character, it's the actor himself who seems fatigued and over-rehearsed.
  25. Flubs nearly every opportunity to be the comedy it wanted to be.
  26. Begins as a serious, straightforward account of the origins of the cocaine trade and "gangsta" culture in 1980s Harlem, but then downward spirals due to a weak plot and gratuitous violence.
  27. An entirely schematic treatise on maternity and conflicting cultures. A subject perhaps far more suited to documentary treatment, this numbingly earnest effort will be a laborious delivery for IFC.
    • 16 Metascore
    • 30 Critic Score
    A couple of hash brownies short of a satisfying cinematic picnic, with far too few comic highs during the bigscreen reefer party.
  28. Plays like an overextended variety-show sketch.

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