Variety's Scores

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For 17,849 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: 9,174 out of 17849
  2. Mixed: 7,036 out of 17849
  3. Negative: 1,639 out of 17849
17849 movie reviews
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    • 12 Metascore
    • 70 Critic Score
    10 to Midnight
    William Roberts’ screenplay, while it sags in the middle, is damnably clever at dropping in its vicious vigilante theme without being didactic, and J. Lee Thompson’s direction, borrowing from Hitchcock’s editing in Psycho, creates the full horror of blades thrusting into naked bellies without the viewer ever actually seeing it happen.
  2. 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.
  3. Strange Wilderness
    Obviously the product of minimal effort by all parties involved, Strange Wilderness is a slovenly, slapped-together stoner comedy.
  4. Left Behind
    With a “Sharknado”-inspired visual style and a deeply weary lead performance from Nicolas Cage, Left Behind is cheap-looking, overwrought kitsch of the most unintentionally hilarious order.
  5. The Emoji Movie
    There have been worse ideas, but in this case the execution isn’t good enough to bring the notion of an emoji movie to funky, surprising life.
  6. Slackers
    Awful and subversively spunky at the same time.
  7. Jersey Shore Massacre
    As willfully lowbrow dumb fun goes, it’s pretty painless.
  8. The Adventures of Pluto Nash
    The proper mix is never found. Ill-conceived and expensive project that winds up looking like a bunch of talented thesps slumming it.
  9. The Master of Disguise
    Vehicle for Dana Carvey as a chameleonic crime-fighting imbecile is noisy, colorful and fart-gag-filled enough to amuse undiscriminating auds under the age of 10.
  10. The Trouble with Romance
    Very little that anyone here says, or does, has the slightest connection to any known reality, and if a film is going to perform an autopsy on love, the corpse should at least be recognizable.
  11. King's Ransom
    An innocuous abduction of viewers' time, if nothing else, King's Ransom is an appealingly cast but terminally bland farce.
  12. The Final Project
    The Final Project does feel like a student film, though not in a way that benefits its own found-footage conceit.
  13. Persecuted
    At a time when the world offers us no shortage of examples of what actual religious persecution looks like, for a film to indulge in this particular brand of self-righteous fearmongering isn’t just clueless or reckless; it’s an act of contemptible irresponsibility.
  14. 3 Strikes
    Exuberantly rude and crude, but generally more frantic than genuinely funny.
    • 11 Metascore
    • 30 Critic Score
    Mortal Kombat: Annihilation
    Pic consists largely of choppily edited fight scenes (usually involving somersaults and back flips) combined with various computer graphic effects.
  16. Love, Weddings & Other Disasters
    If Love, Actually had actually been as bad as its most vociferous detractors have long insisted, it would have looked and sounded a lot like this misfire.
    • 11 Metascore
    • 10 Critic Score
    Police Academy: Mission to Moscow
    An inept, geriatric romp that's for completists only.
  18. Date Movie
    Arguably the lamest of all the free-wheeling genre parodies that have taken flight since "Airplane!," Date Movie is stupefyingly unfunny in its attempts to mock romantic comedies, celebrities, reality TV shows and anything else that pops into the heads of its creators.
  19. Pinocchio
    The spirit of the late Federico Fellini -- with whom Benigni talked of doing the project together -- surfaces repeatedly. But that spirit fails to enliven a film substantially lacking in personality, energy, magic and humor.
    • 11 Metascore
    • 30 Critic Score
    Death Wish II
    Charles Bronson, as the avenging vigilante Paul Kersey, is turned loose this time on the creeps of Los Angeles and the results are every bit as revolting as in the original 1974 jackpot fantasy.
  21. Scary Movie 5
    Audiences not inclined to laugh at the sight of a baby’s head catching fire are encouraged to at least chuckle at the various gags made at the expense of Jody and Dan’s housekeeper (a game Lidia Porto), who satisfies many of the picture’s comedic-target prerequisites by being plus-sized, hysterically religious and Latina.
  22. Nine Lives
    Nine Lives is a lot like a cat: It occasionally bestirs itself, and it would like to be stroked with love, but mostly it just sits there. It’s a pet farce so flat it makes you long for the Lubitsch touch of the “Alvin” comedies.
  23. Some Kind Of Beautiful
    From first frame to last, “Some Kind of Beautiful” is some kind of hideous, a perfect storm of romantic-comedy awfulness that seems to set the ailing genre back decades with the sheer force of its ineptitude.
  24. Fading of the Cries
    The connective tissue between its separate segments is so tenuous and unconvincing that "Cries" almost suggests a failed anthology.
  25. Whipped
    Grotesquely smutty and obnoxiously overbearing, this is a pitiful excuse for a comedy.
  26. Unplanned
    Unplanned isn’t a good movie, but it’s effective propaganda — or, at least, it is if you belong to the group it’s targeting: those who believe that abortion in America, though a legal right, is really a crime. It’s hard to imagine the movie drawing many viewers outside that self-selected demographic.
    • 10 Metascore
    • 20 Critic Score
    Halloween: The Curse of Michael Myers
    Not even the addition of satanic rituals, farm implements or a Howard Stern-like shock jock (Leo Geter) is enough to paint over the creaky trappings.
  28. Mektoub, My Love: Intermezzo
    Vacuous, almost spitefully monotonous ... A dismaying creative dead end from an abundantly gifted filmmaker, the new film escalates its predecessor’s cheeky protest to a form of acute auteur trolling.
  29. Harold
    A terminally lame puberty comedy.
  30. Car 54, Where Are You?
    Crude, virtually laughless and aimed at a target audience that's probably never heard of the source material, "Car 54" should have a short patrol of theaters before being towed away to the vacant lot of "10 worst" lists.
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