Variety's Scores

Select another publication »
For 17,779 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 2.4 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: 9,134 out of 17779
  2. Mixed: 7,009 out of 17779
  3. Negative: 1,636 out of 17779
17779 movie reviews
view
per page
  1. Good Burger 2
    It’s the lame jokes and repetitive dialogue that keep it from landing any laughs. The cast is essentially left stranded, mugging for the cameras as they desperately try to compensate for the undercooked script.
  2. Choose Love
    These filmmakers have trouble finessing their shenanigan-laced setups into anything but frequently frustrating, unsatisfactory conclusions. This title urges us to choose love, but audiences should choose to not play along.
  3. Cabrini
    Little insight is gained from what’s on screen.
  4. Enea
    The director himself has described the film as a “genre story without a genre,” and as such Ena effectively mirrors its protagonist’s equal detachment from all facets and possibilities of his fabulously floundering life. In theory, this makes sense. Dramatically, however, it’s a dead end, unaided by sporadic, leaden stabs at farce and whimsy.
  5. Brightwood
    Awkwardly enamored by the thin novelties of its sci-fi trappings, Brightwood doesn’t possess the imagination to blossom beyond them, occupying an unflattering intersection of modest production resources and unrefined form.
  6. The Family Plan
    Each setpiece is composed and paced much like the last, which only amplifies the sense of Dan as some kind of unflustered, largely unsympathetic man-machine, paused only by the script’s fleeting interpersonal conflicts.
  7. Night Swim
    Everything is at once telegraphed and derivative.
  8. The Painter
    While most performers are fine within the material’s limitations, principal villains Avgeropoulos and Montesi are notably underwhelming.
  9. Limonov: The Ballad
    Given all its omissions and elisions, and the sense of coolness-cosplay that permeates this noisy but lifeless film, “Limonov” might not be a total misapprehension of the mercurial, charismatic and infuriating Eduard Limonov, but it is at least a mispronunciation.
  10. Mother Mary
    “Mother Mary” turns into the most befuddlingly pretentious movie about a pop star since Brady Corbet’s “Vox Lux.” It heads down a blind alley of cosmic meaning that, in the end, means nothing.
  11. Tarot
    Set in a world where every door creaks and there isn’t a single well-lit location, Tarot is little more than a clearinghouse of horror clichés.
  12. Winnie-the-Pooh: Blood and Honey 2
    There may be a lot more going on “Blood and Honey 2,” but let’s not kid ourselves. It’s mostly a shambles.
  13. Atlas
    Atlas is predictable, overlong and bland, the kind of experience it’s hard to get excited about when the star player seems to be perfunctorily running the bases.
  14. Back in Action
    The two actors are appealing; they’ve got marriage-as-domestic-fight-club chemistry. And when Glenn Close shows up as Emily’s British mother, a former superspy herself, the film calms down for a bit ­— and perks up.
  15. Our Little Secret
    You watch Our Little Secret, seeing through the paper-thin contrivances, tittering at the imbecilities, and somehow that all becomes part of the experience. It’s mainstream fodder as downgraded camp. It’s pablum so numbing it makes you feel good.
    • 54 Metascore
    • 30 Critic Score
    Gardens of Stone
    Gardens of Stone, Francis Coppola's muddled meditation on the Vietnam War, seems to take its name not so much from the Arlington Memorial Cemetery, where much of the action takes place, but from the stiffness of the characters it portrays.
  17. The Greatest Hits
    “The Greatest Hits” feels like the remainder-bin version of better love stories.
  18. Love Hurts
    Most audiences want action to feel like action, whereas Eusebio makes it look too much like choreography: No matter how dynamic, every fight scene seems rehearsed to within an inch of its life.
  19. It's Pat: The Movie
    Sweeney, who first invented the character while a member of the L.A.-based Groundlings comedy troupe, has almost perversely turned the relatively harmless TV character into a boorish, egotistical creep for the bigscreen. Fans of the “SNL” sketches will be disappointed. Non-fans won’t bother.
  20. Cash Out
    Every line of dialogue that follows from this tired premise is like an echo of one from a better movie.
  21. Summer Camp
    It’s surely a worthy enough premise for a good time, but one “Summer Camp” squanders through dull jokes, an uninspiring story without any real stakes and an overall phony feeling that the film can’t shake.
  22. The Woman in the Yard
    The Woman in the Yard never musters the imagination to horrify or even jolt you. It’s a tale of one-note inner demons.
  23. The Monkey
    It’s a ham-handed, lurchingly obvious mess, without the glimmer of human interest that even a sensationalist horror film needs.
  24. Double Dragon
    Even kids won't get much of a kick out of this high-energy, low-IQ futuristic slugfest, which plays down to, and in many ways, below the level of some Saturday-morning cartoons.
  25. Eden
    While there’s no denying that Howard has made the ultimate movie that’s not in his wheelhouse, what’s most different about it isn’t the eccentric subject matter. It’s that Howard got so immersed in the subject, so possessed by it, so lost in it that he forgot to do what he can usually do in his sleep: tell a relatable story.
  26. The Duel
    The movie looks sharp enough, but lands like a rapier with a cork on it.
  27. Hellboy: The Crooked Man
    Everything that unfolds in The Crooked Man does so with exceptional dullness, including various psychic visions experienced by the characters, which feel more obligatory than inspired.
  28. The Silent Hour
    Not only does it lack a satisfying payoff when it comes to its set-up of intriguing, character-driven action sequences, the narrative’s emotional pull also yields diminishing returns.
  29. Decoded
    Crowded with shallow characters (particularly Jinzhen’s loved ones: his wife and adoptive family) there to forcefully inject emotion, overlong and technically pristine while devoid of cinematic personality, “Decoded” is pleasant to look at but difficult to feel much toward.
  30. The Merry Gentlemen
    Not only does the story flail trying to find its footing after a well-presented first act, some of the more cost-conscious aspects detract from the picture’s meaningful, understated sentiments.
Page:

Top Trailers

See all »
See all trailers »