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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    • 61 Metascore
    • 70 Critic Score
    The Eiger Sanction
    Eastwood, who also directs and according to studio did his own mountain climbing without doubles, manages fine suspense. His direction displays a knowledge that permits rugged action.
    • 61 Metascore
    • 80 Critic Score
    The Return of the Pink Panther
    All hands seem to be having a ball, especially Schell, whose unabashed amusement at Clouseau’s seduction attempts often matches an audience’s hilarity.
    • 68 Metascore
    • 70 Critic Score
    French Connection II
    Hackman’s performance is another career highlight, ranging from cocky narc, Ugly American, helpless addict, humbled ego and relentless avenger.
    • 58 Metascore
    • 60 Critic Score
    The Fortune
    The Fortune is an occasionally enjoyable comedy trifle, starring Jack Nicholson and Warren Beatty as bumbling kidnappers of heiress Stockard Channing, who is excellent in her first major screen role. Very classy 1920s production values often merit more attention than the plot.
    • 79 Metascore
    • 70 Critic Score
    Smile
    Smile is a hilarious but ultimately shallow putdown of teenage beauty contests.
    • 61 Metascore
    • 80 Critic Score
    The Day of the Locust
    Magnificent production, combined with excellent casting and direction, make The Day of the Locust as fine a film (in a professional sense) as the basic material lets it be. Nathanael West's novel about losers on the Hollywood fringe has lost little of its verisimilitude in adaptation.
    • 58 Metascore
    • 70 Critic Score
    Death Race 2000
    Script, from an Ib Melchior story, makes its satirical points economically, and director Paul Bartel keeps the film moving quickly.
    • 91 Metascore
    • 70 Critic Score
    Monty Python and the Holy Grail
    Basically an excuse for set pieces, some amusing, others overdone.
    • 47 Metascore
    • 50 Critic Score
    Supervixens
    Russ Meyer’s Supervixens is an overlong and overly violent skin pic whose interest lies in its pretentions to be more than a skin film.
    • 52 Metascore
    • 50 Critic Score
    Brannigan
    Car chases, booby traps, etc round out the formula plot turns.
    • 60 Metascore
    • 70 Critic Score
    Escape to Witch Mountain
    Kim Richards and Ike Eisenmann are happy choices as the orphans.
    • 66 Metascore
    • 90 Critic Score
    Tommy
    Ken Russell's filmization of Tommy is spectacular in nearly every way. The enormous appeal of the original 1969 record album by The Who has been complemented in a superbly added visual dimension.
    • 82 Metascore
    • 70 Critic Score
    Night Moves
    Night Moves is a paradox: a suspenseless suspenser, very well cast with players who lend sustained interest to largely synthetic theatrical characters.
    • 65 Metascore
    • 60 Critic Score
    Shampoo
    All the excellent creative components do not add up to a whole. There are, however, strong elements in the film. Warden’s performance is outstanding. He makes the most of a script and direction which gives his character much more dimension than the prototype cuckold.
    • 60 Metascore
    • 40 Critic Score
    The Great Waldo Pepper
    The Great Waldo Pepper is an uneven and unsatisfying story of anachronistic, pitiable, but misplaced heroism.
    • 70 Metascore
    • 40 Critic Score
    The Four Musketeers: Milady's Revenge
    Perhaps the film is a triumph of controlled and deliberate mediocrity, but it still closer resembles a clumsy carbon of a bad satire on the original.
    • 57 Metascore
    • 70 Critic Score
    The Wilby Conspiracy
    The Wilby Conspiracy [from Peter Driscoll’s novel] is a good action melodrama about apartheid in South Africa. It was made in Kenya. The stars Sidney Poitier and Michael Caine are relentlessly stalked by Nicol Williamson, superb as a coldly dedicated and brutal policeman out after racial agitators.
    • 54 Metascore
    • 80 Critic Score
    The Stepford Wives
    Bryan Forbes’ filmization of Ira Levin’s The Stepford Wives is a quietly freaky suspense-horror story.
    • 63 Metascore
    • 60 Critic Score
    The Strongest Man in the World
    The students of Medfield College unintentionally zap the laws of nature with unexpected and sometimes hilarious results.
  20. The Man with the Golden Gun
    Enjoyment requires denying the increasingly problematic truth about Bond: As heroes go, 007 represents a bygone notion of the privileged white man taking what’s his and leaving destruction in his wake.
    • 65 Metascore
    • 40 Critic Score
    Black Christmas
    Black Christmas, a bloody, senseless kill-for-kicks feature, exploits unnecessary violence in a university sorority house operated by an implausibly alcoholic ex-hoofer.
    • 62 Metascore
    • 60 Critic Score
    The Front Page
    The Front Page, with a featured spot by Carol Burnett, sure looks good on paper. But that's about the only place it looks good. The production has the slick, machine-tooled look of certain assembly line automobiles that never quite seem to work smoothly.
    • 69 Metascore
    • 90 Critic Score
    The Towering Inferno
    The Towering Inferno is one of the greatest disaster pictures made, a personal and professional triumph for producer Irwin Allen.
    • 83 Metascore
    • 80 Critic Score
    Young Frankenstein
    Young Frankenstein emerges as a reverently satirical salute to the 1930s horror film genre.
    • 90 Metascore
    • 90 Critic Score
    The Godfather: Part II
    Al Pacino again is outstanding as Michael Corleone, successor to crime family leadership.
    • 78 Metascore
    • 50 Critic Score
    Alice Doesn't Live Here Anymore
    Alice Doesn’t Live Here Anymore takes a group of wellcast film players and largely wastes them on a smaller-than-life film – one of those ‘little people’ dramas that make one despise little people.
    • 61 Metascore
    • 90 Critic Score
    Lenny
    Bob Fosse's remarkable film version of Julian Barry's legit play, Lenny, stars Dustin Hoffman in an outstanding performance.
    • 88 Metascore
    • 80 Critic Score
    A Woman Under the Influence
    This is a disturbing portrait of a slightly-mad housewife. Its serious treament of a downbeat subject is hypoed by a fine performance from Peter Falk and a bravura one from Gena Rowlands.
    • 56 Metascore
    • 80 Critic Score
    Earthquake
    Mark Robson's Earthquake is an excellent dramatic exploitation extravaganza, combining brilliant special effects with a multi-character plot line which is surprisingly above average for this type film. Large cast is headed by Charlton Heston, who comes off better than usual because he is not Superman, instead just one of the gang.
    • 67 Metascore
    • 90 Critic Score
    Phantom of the Paradise
    A very good horror comedy-drama about a disfigured musician haunting a rock palace. Brian De Palma's direction and script makes for one of the very rare backstage rock story pix, catching the garishness of the glitter scene in its own time.
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