Variety's Scores

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For 17,765 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: 9,125 out of 17765
  2. Mixed: 7,004 out of 17765
  3. Negative: 1,636 out of 17765
17765 movie reviews
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    • 54 Metascore
    • 60 Critic Score
    The Computer Wore Tennis Shoes
    Good looking production is above average family entertainment, enhanced to great measure by zesty, but never show-off, direction by Robert Butler, in a debut swing to pix from telefilm.
  2. On Her Majesty's Secret Service
    Is it an awful movie? Objectively speaking, no (although it does feature one of the worst endings ever inflicted on an audience). But as a Bond movie, it’s an abomination.
    • 61 Metascore
    • 70 Critic Score
    Topaz
    Topaz tends to move more solidly and less infectiously than many of Alfred Hitchcock's best remembered pix. Yet Hitchcock brings in a full quota of twists and tingling moments.
    • 67 Metascore
    • 50 Critic Score
    Cactus Flower
    Cactus Flower drags, which is probably the worst thing that can be said of a light comedy. It's due to sloppy direction by Gene Saks and the miscasting of Walter Matthau opposite Ingrid Bergman.
    • 51 Metascore
    • 70 Critic Score
    Hello, Dolly!
    An expensive, expansive, sometimes exaggerated, sentimental, nostalgic, wholesome, pictorially opulent $20 million filmusical [from the 1964 Broadway production, music and lyrics by Jerry Herman] with the charisma of Barbra Streisand in the title role.
    • 62 Metascore
    • 80 Critic Score
    Marooned
    The film is superbly crafted, taut and a technological cliff-hanger.
    • 72 Metascore
    • 70 Critic Score
    They Shoot Horses, Don't They?
    A film with Jane Fonda as a hard-as-nails babe. It becomes, in a recreated old ballroom, a sordid spectacle of hard times, a kind of existentialist allegory of life.
    • 86 Metascore
    • 70 Critic Score
    Z
    Z is a punchy political pic [from the novel by Vassilis Vassilikos] that mixes action, violence, and conspiracy on a robust, lavish scale.
    • 48 Metascore
    • 50 Critic Score
    The Undefeated
    Film has a basic storyline, character elements and dialog for what might have been a superior drama and possibly a great western. But Andrew McLaglen's direction, seems to consist of splicing together cliches, static camera work and Central Casting of the bit parts.
    • 89 Metascore
    • 90 Critic Score
    Downhill Racer
    Redford contributes a sensitive, interesting portrayal. His interpretation is many-faceted and probing. Hackman’s characterization is virile and thoroughly human.
    • 61 Metascore
    • 50 Critic Score
    Goodbye, Mr. Chips
    M-G-M's reproduction of Goodbye, Mr. Chips as a big-budget musical [music and lyrics by Leslie Bricusse] with Peter O'Toole and Petula Clark is a sumptuous near-miss that trips on its own overproduction.
    • 66 Metascore
    • 80 Critic Score
    Butch Cassidy and the Sundance Kid
    Action dwells upon the misadventures of the pair as they pursue the outlaw trail, but more importantly, packs the type of fast movement the title indicates.
    • 68 Metascore
    • 70 Critic Score
    The Sterile Cuckoo
    It is Minnelli’s one-woman show. The 21-year-old Burton is not so much her costar as her straight man.
    • 50 Metascore
    • 60 Critic Score
    Paint Your Wagon
    What the $17 million-plus film (from the 1951 Lerner-Loewe Broadway musical) lacks in a skimpy story line it makes up in the music and expert choreography. There are no obvious ‘musical numbers’. All the songs, save one or two, work neatly, quietly and well into the script. The actors used their own voices, which are pleasant enough and add to the note of authenticity.
    • 72 Metascore
    • 100 Critic Score
    Bob & Carol & Ted & Alice
    The acting is superb. Cannon proves an expert comedienne. She and Gould practically steal the film, although admittedly they have the best lines. Wood and Culp give equally fine performances....The film is almost flawless, presenting the issues in a pleasing, entertaining and thought-provoking manner.
    • 70 Metascore
    • 70 Critic Score
    The Italian Job
    The cast does its stuff to good effect. Coward, as the highly patriotic, business-like master crook, brings all his imperturbable sense of irony and comedy to his role.
    • 87 Metascore
    • 60 Critic Score
    Medium Cool
    Photographed in Chicago against the clamor and violence of the 1968 Democratic National Convention, where cast principals were on their own as they made their way through the crowds and police lines. Buildup to these later sequences frequently is confusing and motives difficult to fathom.
    • 66 Metascore
    • 50 Critic Score
    The Rain People
    Writer-director Francis Coppola, scrutinizing the flight of a neurotic young woman and her efforts to assist a brain-damaged ex-football player, has developed an overlong, brooding film incorporating some excellent photography. Often lingering too long on detail to build effects, he manages to lose character sympathy.
    • 85 Metascore
    • 90 Critic Score
    Easy Rider
    Fonda himself has given this a fine production dress, with associate Bert Schneider, and the brilliant lensing, excellent music background ballads, especially Bob Dylan's "Easy Rider," are fine counterpoints to this poetic trip along Southwest America.
    • 98 Metascore
    • 50 Critic Score
    The Wild Bunch
    Film at 145 minutes is far over-length, and should be tightened extensively, particularly in first half. After a bang-up and exciting opening, it appears that scripters lost sight of their narrative to drag in Mexican songs, dancing and way of life, plus an overage of dialog, to the detriment of action.
    • 34 Metascore
    • 40 Critic Score
    Eye of the Cat
    Pic has a few good jolts, successful buildups, and good looking people, but stilted dialog and plot shot through with holes keep mystery at a minimum, suspense overdue. Despite San Francisco as backdrop, with North Beach and Sausalito tossed in for spice, film trips over its own cliches and errors.
    • 83 Metascore
    • 70 Critic Score
    True Grit
    It’s mostly Wayne all the way. He towers over everything in the film – actors, script [from Charles Portis’ novel], even the magnificent Colorado mountains.
    • 47 Metascore
    • 60 Critic Score
    The April Fools
    In addition to Lemmon, comedians Jack Weston (as his lawyer) and Harvey Korman (as a drinking companion they encounter in the commuter train’s drinking car) provide their own brand of laughs and the contrasting styles of the three actors gives the plot most of its action.
    • 79 Metascore
    • 70 Critic Score
    Midnight Cowboy
    The sometimes amusing but essentially sordid saga of a male prostitute in Manhattan,...Midnight Cowboy is of the modern moment moderne. It has a hot topical theme; a popular actor from last year’s greatest film comedy; a miscellany of competent bit players, a good deal of both sly and broad humor. If the women object, and some will, that it accords their sex scant courtesy, the story hardly presents males as admirable. Indeed in this film the scenery is lovely and only the human race is vile.
    • 70 Metascore
    • 60 Critic Score
    Winning
    Overly-long, it nevertheless carries sock appeal in suspenseful racing sequences and its principals in a realistically-developed marital romance score strongly.
    • 37 Metascore
    • 70 Critic Score
    Mackenna's Gold
    The plot [from Will Henry's novel McKenna's Gold] is good, the acting adequate. But it's the scenery, the vastness of the west, the use of cameras, and of horses, and the special effects which keep the viewer involved and entertained.
    • 69 Metascore
    • 60 Critic Score
    Death of a Gunfighter
    Widmark elicits certain sympathy for his actions in his hardboiled interpretation.
    • 56 Metascore
    • 60 Critic Score
    Support Your Local Sheriff!
    Support Your Local Sheriff uses as the basis for its comedy the many cliches that have become part and parcel of the Western genre.
    • 61 Metascore
    • 70 Critic Score
    The Assassination Bureau
    Fused with the capable talents of Michael Relph and Basil Dearden picture emerges as a somewhat unusual and clever comedy after an over-leisurely opening.
    • 48 Metascore
    • 80 Critic Score
    The Love Bug
    For sheer inventiveness of situation and the charm that such an idea projects, The Love Bug rates as one of the better entries of the Disney organization.
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