Variety's Scores

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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:
  1. Positive: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
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    • 86 Metascore
    • 80 Critic Score
    Carrie
    Carrie is a modest but effective shock-suspense drama about a pubescent girl, her evangelical mother and cruel schoolmates. Stephen King's novel, adapted by Lawrence D. Cohen, combines in unusual fashion a lot of offbeat story angles.
    • Variety
  2. Network
    Sidney Lumet’s direction is outstanding.
    • 46 Metascore
    • 70 Critic Score
    Two-Minute Warning
    An off-the-beaten-track story [based on the novel by George La Fountaine] of a football stadium crowd menaced by a sniper, combined with above-average plotting, acting and direction.
    • 40 Metascore
    • 40 Critic Score
    The Next Man
    The Next Man emerges more a slick travesty with political overtones than the cynical suspense meller it was designed to be.
    • 89 Metascore
    • 70 Critic Score
    Assault on Precinct 13
    Novelty of a gang swearing a blood oath to destroy a precinct station and all inside is sufficiently compelling for the gory-minded to assure acceptance. John Carpenter’s direction of his screenplay, after a pokey opening half, is responsible for realistic movement.
    • 71 Metascore
    • 70 Critic Score
    Car Wash
    Car Wash uses gritty humor to polish clean the souls of a lot of likeable street people.
    • 48 Metascore
    • 50 Critic Score
    Burnt Offerings
    The horror is expressed through sudden murderous impulses felt by Black and Reed, a premise which might have been interesting if director Dan Curtis hadn't relied strictly on formula treatment.
    • 64 Metascore
    • 50 Critic Score
    Marathon Man
    Film spends literally half of its length getting some basic plot pieces [from the novel by William Goldman] fitted and moving.
    • 71 Metascore
    • 90 Critic Score
    Bugsy Malone
    It’s a brave, funny and winning pic which is nearly – but regrettably not quite – a triumph.
    • 32 Metascore
    • 50 Critic Score
    At the Earth's Core
    At the Earth's Core, from the Edgar Rice Burroughs novel, is an okay fantasy adventure film. Made in England, it's a fast-paced, slightly tongue-in-cheek tale about stalwart hero Doug McClure's battles with underground monsters.
    • 41 Metascore
    • 50 Critic Score
    Gator
    This follow-up to White Lightning never takes itself seriously, veering as it does through many incompatible dramatic and violent moods for nearly two hours.
    • 77 Metascore
    • 90 Critic Score
    The Shootist
    Don Siegel's terrific film is simply beautiful, and beautifully simple, in its quiet, elegant and sensitive telling of the last days of a dying gunfighter at the turn of the century.
    • 46 Metascore
    • 70 Critic Score
    Futureworld
    Futureworld is a strong sequel to Westworld in which the rebuilt pleasure dome aims at world conquest by extending the robot technology to duplicating business and political figures.
    • 59 Metascore
    • 70 Critic Score
    Obsession
    Robertson’s low-key performance is as crucial to the manifold surprise impact as Bujold’s versatile, sensual and effervescent charisma.
    • 39 Metascore
    • 50 Critic Score
    To the Devil a Daughter
    Based on a novel by English author Dennis Wheatley, the picture makes a few too many pretensions to serious exploration of the occult, that hamper the flow.
    • 37 Metascore
    • 30 Critic Score
    The Gumball Rally
    The Gumball Rally is a silly forced, one-note and strident comedy about a cross-country auto race by a bunch of formula-kooky characters. Former stunt coordinator Chuck Bail produced and directed but he didn't have much of a plot.
    • 54 Metascore
    • 50 Critic Score
    Lifeguard
    An unsatisfying film, of uncertain focus on a 30-ish guy who doesn't yet seem to know what he wants. Script takes Sam Elliott through another Southern California beach summer as a career lifeguard, encountering the usual string of offbeat characters found in the type of made-for-TV feature which this project resembles.
    • 35 Metascore
    • 30 Critic Score
    Cannonball!
    Cannoball will please those who won’t rest until they see every car in creation destroyed and aflame.
    • 58 Metascore
    • 60 Critic Score
    Shivers
    A silly but moderately effective chiller about creeping parasites that systematically (and comically) 'infect' an entire highrise population with nothing less than sexual hysteria.
    • 69 Metascore
    • 60 Critic Score
    The Outlaw Josey Wales
    The screenplay [based on the book Gone to Texas by Forrest Carter] is another one of those violence revues, with carnage production numbers slotted every so often and intercut with Greek chorus narratives by John Vernon and Chief Dan George.
    • 71 Metascore
    • 60 Critic Score
    The Tenant
    A tale of a paranoid breakdown of a little bureaucratic clerk that wastes no time in trying to be clinical. It has a humorous tang, underlying the macabre. (Review of original release)
    • 63 Metascore
    • 80 Critic Score
    The Omen
    Suspenser starring Gregory Peck and Lee Remick as the unwitting parents of the Antichrist. Richard Donner's direction is taut. Players all are strong.
    • Variety
    • 61 Metascore
    • 60 Critic Score
    Buffalo Bill and the Indians, or Sitting Bull's History Lesson
    It appears that the idea here is to expose and debunk the Buffalo Bill legend, revealing it for the promotional distortion which, in some ways, it most certainly has to have been.
    • 53 Metascore
    • 90 Critic Score
    Logan's Run
    Logan's Run is a rewarding futuristic film that appeals both as spectacular-looking escapist adventure as well as intelligent drama.
    • 59 Metascore
    • 80 Critic Score
    Murder by Death
    A very good silly-funny Neil Simon satirical comedy, with a super all-star cast.
    • 48 Metascore
    • 50 Critic Score
    Midway
    The June 1942 sea-air battle off Midway Island was a turning point in World War II. However, the melee of combat was the usual hysterical jumble of noise, explosion and violent death. Midway tries to combine both aspects but succumbs to the confusion.
    • 75 Metascore
    • 60 Critic Score
    Silent Movie
    The slender plot of Silent Movie [from a story by Ron Clark] is basically a hook for slapstick antics, some feeble and some very fine (notably a wonderful nightclub tango with Anne Bancroft). Harry Ritz, Charlie Callas, Henny Youngman, and the late Liam Dunn are standouts.
    • 55 Metascore
    • 70 Critic Score
    The Last Hard Men
    The Last Hard Men is a fairly good actioner with handsome production values and some thoughtful overtones. Charlton Heston and James Coburn are both fine as a retired lawman and his half-Indian nemesis matching their wits in 1909 Arizona along the way to one last bloody confrontation.
    • 65 Metascore
    • 60 Critic Score
    The Missouri Breaks
    The trouble with The Missouri Breaks is that one is seriously drawn to it on its upfront elements, but leaves with a depressing sense of waste. As a film achievement it’s corned beef and ham hash.
    • 67 Metascore
    • 100 Critic Score
    That's Entertainment, Part II
    That's Entertainment, Part II is a knockout. The very handsome and polished sequel to That's Entertainment! transforms excerpts from perhaps $100 million worth of classic Metro library footage into a billion dollars worth of fun, excitement, amusement, escapism, fantasy, nostalgia and happiness.
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