Variety's Scores

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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:
  1. Positive: 9,136 out of 17782
  2. Mixed: 7,010 out of 17782
  3. Negative: 1,636 out of 17782
17782 movie reviews
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  1. American Milkshake
    Milkshake sucks all the flavor out of a tasty premise.
  2. Ass Backwards
    Ass Backwards proves that no amount of comic talent can shine — or raise a chuckle — in the absence of even halfway decent material.
  3. Nothing Left to Fear
    Features fewer small-town scares than a rerun of “Dawson’s Creek” and more wooden acting than a marionette theater. Memo to Rob Zombie: Don’t fear the competition.
  4. Sweetwater
    Fancy-sounding dialogue and handsome widescreen lensing goes only so far to disguise the shallowness of the underlying material.
  5. Unacceptable Levels
    Unacceptable Levels marries folksy astonishment and alarmist speculation in a documentary far too easy to dismiss.
    • 50 Metascore
    • 30 Critic Score
    Prince of Darkness
    Carpenter spends so much time turning the screws on the next scare that he completely forsakes his actors, who are already stranded with a shoddy script.
  7. Cleaver's Destiny
    Hampered by pedestrian, underpopulated mise-en-scene, a sketchy script and uneven thesping, “Destiny” definitely underwhelms.
  8. A Case of You
    A lot of interesting, funny performers aren’t very interesting or funny in director Kat Corio’s A Case of You.
  9. Tyler Perry's A Madea Christmas
    An exceptionally poor piece of holiday cash-in product, rushed and ungainly even by the low standard set by Perry's seven previous Madea films, yet it should be every bit as profitable.
  10. Argento's Dracula 3D
    Director Argento half-heartedly mixes schlocky 3D f/x with one-dimensional characters for a near-two-hour joke that ought to have been funnier.
  11. Beauty and the Beast
    There’s digital wizardry galore in this Beauty and the Beast, but precious little magic.
  12. Warcraft
    So good at making the most outlandish elements of his first two films seem completely credible, Jones can’t find a way to get this cartoony spectacle to soar. His heartfelt approach to the material only underlines the silliness.
  13. CZ12
    Taking more than a dozen credits, including helmer-scribe, Jackie Chan emerges a Jackie-of-all-trades and master of none.
  14. I'm in Love with a Church Girl
    The road to hell is paved with well-intentioned clunkers like I’m in Love with a Church Girl, a strenuously sincere but tediously schematic and heavy-handed attempt at cinematic proselytizing for Christianity.
  15. 2 Jacks
    Slack narrative and abysmal dialogue render the vague generational satire meaningless to anyone unfamiliar with Tolstoy’s work (and depressing to those in the know).
  16. In the Name Of
    While thesps Chyra and Kosciukiewicz... embody the physical aspect of their characters’ relationship comfortably enough, their pairing as lovers lacks both chemistry and narrative credibility.
  17. Cassadaga
    Equal parts gory mayhem, convoluted mystery and rote romance, none of which gel together very well.
  18. Red Wing
    Will Wallace's turgid indie tells an earthbound and anemic story about an orphan's progress in small-town Texas.
  19. Boss
    The deafening Bollywood action comedy Boss, directed in broad, heavy strokes by Anthony D’Souza (“Blue”), is a relentless hard-sell star vehicle, a two-and-half-hour string of sledgehammer fighting and dancing sequences.
  20. Endless Love
    In “The Greatest” (2009) and “Country Strong” (2010), Feste proved herself quite skilled, if not especially innovative, at limning her characters’ emotional travails. But subtlety, complexity and even the slightest modicum of realism elude her here.
  21. Paris Countdown
    This been-there-done-that story marks a pretty banal debut for writer-director Alain Marie, who seems far more interested in aping Refn and early-career Michael Mann than in finding his own style.
  22. Expecting
    Even when judged by the standards of broad farce, however, Expecting repeatedly strains credibility and defies logic in ways too glaring to ignore.
  23. Lion Ark
    Overlong film quickly becomes tedious whenever the camera strays from the lions, who don’t have much personality but prove more compelling than the humans.
  24. It's Better to Jump
    The three director-producers’ inability to come up with stronger narrative or thematic organization makes “It’s Better to Jump” play like the professionally polished side product of a vacation stay.
  25. The Boy Next Door
    The film’s initial formulaic competence gives way to outright preposterousness rather quickly, hinging on idiot-plot character motivations.
  26. Live at the Foxes Den
    The pacing is tortured. Plot doesn’t so much twist as rupture and spill forth, and character arcs, as if part of a case being built by a cut-rate lawyer, frequently skip discovery and are forgotten before summation.
  27. Barefoot
    If the film had a loopier or more fable-styled atmosphere, the concept might have seemed easier to swallow. But Fleming treats Stephen Zotnowski’s script with a glossy literalism that doesn’t do it or the actors any favors.
  28. R... Rajkumar
    The Whoopee Cushion hijinks here are punctuated with incongruous outbursts of bloody violence.
  29. Gods of Egypt
    This is by any measure a dreadful movie, a chintzy, CG-encrusted eyesore that oozes stupidity and self-indulgence from every pore. Yet damned if Proyas doesn’t put it all out there with a lunatic conviction you can’t help but admire.
  30. The Lazarus Effect
    “Lazarus” shamelessly steals from superior genre efforts and lacks any distinguishing traits beyond a wildly overqualified cast.
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