Variety's Scores

Select another publication »
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
view
per page
    • 77 Metascore
    • 70 Critic Score
    Bunny Lake Is Missing
    What Preminger has achieved is an entertaining, fast-paced exercise in the exploration of a sick mind.
    • 81 Metascore
    • 80 Critic Score
    The Hill
    It is a harsh, sadistic and brutal entertainment, superbly acted and made without any concessions to officialdom.
    • 58 Metascore
    • 70 Critic Score
    Help!
    The simple good spirits that pervaded A Hard Day's Night are now often smothered as if everybody is desperately trying to outsmart themselves and be ultra-clever-clever. Nevertheless, Help! is a good, nimble romp with both giggles and belly-laughs.
    • 65 Metascore
    • 70 Critic Score
    Faster, Pussycat! Kill! Kill!
    Faster, Pussycat! Kill! Kill! is a somewhat sordid, quite sexy and very violent murder-kidnap-theft meller which includes elements of rape, lesbianism and sadism, clothed in faddish leather and boots and equipped with sports cars. Some good performances emerge from a one-note script via very good Russ Meyer direction and his outstanding editing.
    • 62 Metascore
    • 70 Critic Score
    Darling
    Christie almost perfectly captures the character of the immoral Diana, and very rarely misses her target.
    • 66 Metascore
    • 60 Critic Score
    The Ipcress File
    Pic does not build up to the type of suspense usually demanded of such thrillers.
    • 72 Metascore
    • 80 Critic Score
    These Are the Damned
    Although the cast is excellent, no one character dominates the action or overshadows the others. Joseph Losey's hand is so apparent that the film's considerable effectiveness must be accredited to him as must its few faults and the fearsome message it conveys.
    • 71 Metascore
    • 70 Critic Score
    The Great Race
    The Great Race is a big, expensive, whopping, comedy extravaganza [from a screen story by Blake Edwards and Arthur Ross], long on slapstick and near-inspired tomfoolery whose tongue-in-cheek treatment liberally sprinkled with corn frequently garners belly laughs.
    • 60 Metascore
    • 70 Critic Score
    Cat Ballou
    Middlingly successful, sparked by an amusing way-out approach and some sparkling performances.
    • 72 Metascore
    • 60 Critic Score
    The Sons of Katie Elder
    Wayne delivers one of his customary rugged portrayals, a little old, perhaps, to have such a young brother as Anderson but not so old that he lacks the attributes of a gunman. Martin, who plays his part with a little more humor than the others, is equally effective in a hardboiled characterization.
    • 69 Metascore
    • 70 Critic Score
    The Pawnbroker
    There is little plot in the regular sense, but a series of episodes spanning just a few days of the present, which recall many harrowing experiences of the past. Some are absorbing, but others seem to lack the dramatic punch for which the director must have strived.
    • 70 Metascore
    • 50 Critic Score
    Operation Crossbow
    Ambitiously filmed in Europe and boasting production values which may seem to catch the spirit of the monumental effort, what the Carlo Ponti production lacks primarily is a cohesive story line.
    • 80 Metascore
    • 80 Critic Score
    The Train
    After a slow start, The Train picks up to become a colorful, actionful big-scale adventure opus.
    • 63 Metascore
    • 100 Critic Score
    The Sound of Music
    The Robert Wise production is a warmly pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast headed by Julie Andrews and Christopher Plummer which must strike a respondent chord at the box office.
    • 49 Metascore
    • 70 Critic Score
    None But the Brave
    Frank Sinatra, who also stars with Clint Walker and produces, makes his directorial bow and is responsible for some good effects in maintaining a suspenseful pace.
    • 61 Metascore
    • 60 Critic Score
    36 Hours
    Based on Roald Dahl’s Beware of the Dog and a story of Carl K. Hittleman and Luis H. Vance, it provides a behind-the-scenes glimpse of high military intelligence at work.
    • 87 Metascore
    • 90 Critic Score
    Goldfinger
    There's not the least sign of staleness in this third sample of the Bond 007 formula. Some liberties have been taken with Ian Fleming's original novel but without diluting its flavor.
    • 95 Metascore
    • 100 Critic Score
    My Fair Lady
    It has riches of story, humor, acting and production values far beyond the average big picture. It is Hollywood at its best.
    • 42 Metascore
    • 50 Critic Score
    Goodbye Charlie
    Even by delving into fantasy for its wildly implausible premise this picturization of George Axelrod's not-so-successful 1960 Broadway play doesn't come off as anything but the mildest type of entertainment.
    • 68 Metascore
    • 60 Critic Score
    The Americanization of Emily
    Primarily interesting for the romance between Andrews and Garner.
    • 39 Metascore
    • 40 Critic Score
    Woman of Straw
    Director Basil Dearden seems, here, to have temporarily misplaced the vigorous insight that has earned him some top credits. Best that can be said of Straw [from the novel by Catherine Arley] is that it looks handsome. But the film gets bogged down by stilted dialog and by the situations.
    • 75 Metascore
    • 70 Critic Score
    Fail-Safe
    Fail Safe is a tense and suspenseful piece of filmmaking dealing with the frightening implications of accidental nuclear warfare. It faithfully translates on the screen the power and seething drama of the Eugene Burdick-Harvey Wheeler book.
    • 88 Metascore
    • 100 Critic Score
    Mary Poppins
    Julie Andrews’ first appearance on the screen is a signal triumph and she performs as easily as she sings, displaying a fresh type of beauty nicely adaptable to the color cameras. Van Dyke, as the happy-go-lucky jack-of-all-trades, scores heavily, the part permitting him to showcase his wide range of talents.
    • 96 Metascore
    • 80 Critic Score
    A Hard Day's Night
    A wacky, offbeat piece of filming, charged with vitality, and inventiveness by director Dick Lester.
    • 85 Metascore
    • 80 Critic Score
    Harakiri
    This stunning film is a sombre tragedy [from Yasuhiko Takiguchi's novel] giving off deep rage against militarism, political systems and beliefs that do not allow for a rational human outlook or future change.
    • 73 Metascore
    • 50 Critic Score
    Marnie
    Marnie is the character study of a thief and a liar, but what makes her tick remains clouded even after a climax reckoned to be shocking but somewhat missing its point.
    • 72 Metascore
    • 50 Critic Score
    The Killers
    Coon’s screenplay is burdened with affected dialog and contrived plotwork. Virtually nothing of the original Hemingway remains.
    • 77 Metascore
    • 70 Critic Score
    The Masque of the Red Death
    Vincent Price is the very essence of evil, albeit charming when need be.
    • 70 Metascore
    • 70 Critic Score
    A Shot in the Dark
    Sometimes the narrative is subordinated to individual bits of business and running gags but Sellers’ skill as a comedian again is demonstrated, and Sommer, in role of the chambermaid who moves all men to amorous thoughts and sometimes murder, is pert and expert.
    • 77 Metascore
    • 70 Critic Score
    Zulu
    Joseph E. Levine makes an impressive debut in British film production with Zulu, a picture that allows ample scope for his flamboyant approach to showmanship.
Page:

Top Trailers

See all »
See all trailers »