Variety's Scores

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For 17,771 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 2.5 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: 9,130 out of 17771
  2. Mixed: 7,005 out of 17771
  3. Negative: 1,636 out of 17771
17771 movie reviews
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    • 87 Metascore
    • 50 Critic Score
    The Long Goodbye
    Robert Altman's film version of Raymond Chandler's novel is an uneven mixture of insider satire on the gumshow film genre, gratuitous brutality, and sledgehammer whimsy.
    • 73 Metascore
    • 70 Critic Score
    Charlotte's Web
    Heartwarming entertainment.
    • 64 Metascore
    • 80 Critic Score
    The Train Robbers
    The Train Robbers is an above-average John Wayne actioner, written and directed by Burt Kennedy with suspense, comedy and humanism not usually found in the formula.
    • 77 Metascore
    • 50 Critic Score
    Last Tango in Paris
    Bernardo Bertolucci's Last Tango in Paris is an uneven, convoluted, certainly dispute-provoking study of sexual passion in which Marlon Brando gives a truly remarkable performance.
    • 74 Metascore
    • 70 Critic Score
    The Heartbreak Kid
    Elaine May’s deft direction catches all the possibilities of young romance and its tribulations in light strokes and cleverly accents characterization of the various principals.
    • 57 Metascore
    • 40 Critic Score
    The Life and Times of Judge Roy Bean
    The overkill and the underdone do it in.
    • 55 Metascore
    • 70 Critic Score
    The Getaway
    The Getaway has several things going for it: Sam Peckinpah's hard-action direction, this time largely channeled into material destruction, although fast-cut human bloodlettings occur frequently enough, and Steve McQueen and Ali MacGraw as stars.
    • 70 Metascore
    • 80 Critic Score
    The Poseidon Adventure
    The Poseidon Adventure is a highly imaginative and lustily-produced meller that socks over the dramatic struggle of 10 passengers to save themselves after an ocean liner capsizes when struck by a mammoth tidal wave created by a submarine earthquake.
    • 65 Metascore
    • 70 Critic Score
    Asylum
    It's a trim little chiller, with a moderate quota of blood and mayhem, polished performances and smooth direction.
    • 51 Metascore
    • 60 Critic Score
    The Mechanic
    Michael Winner keeps the tempo at fever-pitch despite deficiencies of feature’s opening sequences.
    • 58 Metascore
    • 60 Critic Score
    Lady Sings the Blues
    The film serves as a very good screen debut vehicle for Diana Ross, supported strongly by excellent casting, handsome 1930s physical values, and a script which is far better in dialog than structure.
    • 68 Metascore
    • 60 Critic Score
    Fist of Fury
    Lee has a good deal of aggressive boyish charm. However, pic is archaically simple-minded in its storyline and marginally professional in its production. Lo Wei’s direction is a juvenile match for his own screenplay.
    • 58 Metascore
    • 60 Critic Score
    The Way of the Dragon
    Dragon is noteworthy more for the martial arts action than for narrative, which is all its fans probably want anyway.
    • 66 Metascore
    • 60 Critic Score
    Snoopy Come Home
    Lee Mendelson and Bill Melendez, who produced A Boy Named Charlie Brown, focus most of their attention on the independent beagle who is the despair of his master, Charlie Brown.
    • 66 Metascore
    • 50 Critic Score
    Everything You Always Wanted to Know About Sex * But Were Afraid to Ask
    Allen's gift is in the depiction of a contemporary intellectual shlump who cannot seem to make it with the chicks always tantalizingly out of reach. That persona could well have served him once more as the focus for a good bit of caustic comedy on today's sexual mores.
    • Variety
    • 67 Metascore
    • 50 Critic Score
    Super Fly
    Best that can be said for this quickie is its unpretentiousness in not seeking any pseudo-sociological meaning or theme, or assuming any airs that one is supposed to be enriched or provoked by it all. It's strictly action-adventure, alternating, like clockwork, drugs-sex-violence for its duration with hardly a plot line to hold it together.
    • 89 Metascore
    • 80 Critic Score
    Fat City
    Huston catches the feel of the community with a lean, no-nonsense economy, a hard-boiled but humanly alert feeling which raises the tale from a purely naturalistic lowlife depiction of the characters to make a statement on the life style of the drifters and those who accept a moderate place in the smalltown hierarchy.
    • 80 Metascore
    • 50 Critic Score
    Deliverance
    In the depiction of sudden, violent death, there is the rhapsodic wallowing in the deadly beauty of it all: protruding arrows, agonizing expiration, etc. It’s the stuff of which slapdash oaters and crime programmers are made but the obvious ambitions of Deliverance are supposed to be on a higher plane.
    • 52 Metascore
    • 70 Critic Score
    Joe Kidd
    Not enough identity is given Clint Eastwood in a New Mexico land struggle in which no reason is apparent for his involvement, but John Sturges' direction is sufficiently compelling to keep guns popping and bodies falling.
    • 90 Metascore
    • 60 Critic Score
    Le Samouraï
    It is intermittently successful.
    • 48 Metascore
    • 50 Critic Score
    Hannie Caulder
    Welch, with genteel modesty, makes the character for many rather ingratiating though others undoubtedly will find her plain ludicrous.
    • 49 Metascore
    • 70 Critic Score
    Conquest of the Planet of the Apes
    The Planet of the Apes series takes an angry turn in the fourth entry, Conquest of the Planet of the Apes.
    • 66 Metascore
    • 100 Critic Score
    The Candidate
    The Candidate is an excellent drama starring Robert Redford as a naive liberal political novice who wises up fast...Redford’s superior acting talents, which not-often-enough are tapped by the scripts he decides to do, are nearly all on display herein in a virtuoso peformance.
    • 92 Metascore
    • 90 Critic Score
    Frenzy
    Armed with a superior script by Anthony Shaffer, an excellent cast, and a top technical crew, Alfred Hitchcock fashions a firstrate melodrama about an innocent man hunted by Scotland Yard for a series of sex-strangulation murders.
    • 61 Metascore
    • 30 Critic Score
    Boxcar Bertha
    Performances are dull. Whatever sociological, political or dramatic motivations may once have existed in the story have been ruthlessly stripped from the plot, leaving all characters bereft of empathy or sympathy. There’s hardly a pretense toward justifying the carnage
    • 62 Metascore
    • 70 Critic Score
    Twins of Evil
    John Hough has given Tudor Gates’ script [based on a characters created by J. Sheridan Le Fanu] a good pace and directed so that audiences can take it as straight horror or as a slight send-up.
    • 65 Metascore
    • 80 Critic Score
    The Other
    An outstanding example of topflight writing structure and dialog, enhanced to full fruition by a knowing director.
    • 75 Metascore
    • 70 Critic Score
    Jeremiah Johnson
    The film has its own force and beauty and the only carp might lie in its not always clear exegesis of the humanistic spirit and freedom most of its characters are striving for.
    • 77 Metascore
    • 70 Critic Score
    Play It Again, Sam
    The placid direction of Herbert Ross keeps Allen in the spotlight for some good laughs, several chuckles and many smiles.
    • 54 Metascore
    • 70 Critic Score
    Fritz the Cat
    Excellent animation and montage shore up a plot which has a few howls, several chuckles and many smiles.
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