Variety's Scores

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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
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  1. 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.
  2. 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.
  3. Stealing Pulp Fiction
    Malformed comedy and character beats keep the movie feeling like a rough first draft.
  4. Hurry Up Tomorrow
    Hurry Up Tomorrow bears all the signs of pop star hubris masquerading as artistic candor, despite game performances by Jenna Ortega and Barry Keogan to prop up the budding thespian.
  5. Autumn and the Black Jaguar
    You want to be moved by this seemingly conservation-minded affair, but Autumn and the Black Jaguar sadly turns into a cringe-inducing experience fast in a number of ways, undermining the intelligence and taste level of its young audience in the process.
  6. Alarum
    Michael Polish’s film gamely tries to compensate for unspectacular production values with a lot of action — but its staging is pedestrian at best. Alexander Vesha’s script never convinces, and the competent actors fail to spark, despite Sylvester Stallone’s presence as a reluctantly reunited former colleague.
  7. Juliet & Romeo
    Improperly developed, poorly executed and containing no indelible music numbers for us to tap our toes to, this “La La Land”-wannabe take on the Bard’s story serves to frustrate and bore.
  8. Until Dawn
    It’s monotonous and derivative and numbing. It’s a grab bag that traps you in a version of hell, though the problem isn’t that the movie is like a video game. It’s that it’s like a video game that’s got no game.
  9. Bubble & Squeak
    Not all movies need to serve up profound insights into the human condition, but the ones that don’t should at least be entertaining, and Twohy’s particular strain of absurdism is not just contrived, but deeply unfunny.
  10. Two Women
    The best that can be said for Robichaud’s film is that her two leads, Karine Gonthier-Hyndman and Laurence Leboeuf, give committed performances
  11. Uppercut
    The director and star’s efforts may have lifted the German-language edition, but this static, lost-in-translation revamp just comes off as effortful, for little reward.
  12. Between Borders
    Between Borders runs on didactic writing that renders the Petrosyans’ plight into a derivative period drama.
  13. My Fault: London
    Charlotte Fassler and Dani Girdwood (the duo also goes by “Similar but Different”) demonstrate visual dexterity within the propulsive action sequences, yet fail to avoid the lazy, clichéd pitfalls of the pre-existing narrative.
  14. Gunslingers
    Goosed by a couple gratuitous interludes of gory amateur surgery, the movie is eventful, with a high body count. But there’s never the baseline authenticity of atmosphere or character depth that might make so much action meaningful, or even particularly exciting.
  15. Clown in a Cornfield
    You might be wondering if “Clown in a Cornfield” is at least scary. No, it’s not, and it’s not trying too hard to be.
  16. I Know What You Did Last Summer
    I appreciated that Robinson was actually trying to make a real movie out of all this. Yet it’s not a real movie. It’s a concoction impersonating one.
    • 51 Metascore
    • 30 Critic Score
    Number 17
    Like the play, the story is vague and, despite its intended eerieness, unconvincing. [02 Aug 1932, p.17]
    • Variety
  18. Oh. What. Fun.
    Director Michael Showalter’s yuletide anthem for unheralded matriarchs fumbles severely, delivering bland comedic hijinks, insufferable characters and generic conundrums.
  19. The Home
    Davidson shows he may not have the chops to carry a horror film, while DeMonaco fails to deliver any thrills this time. Ultimately, it’s a by-the-numbers effort that proves quite disappointing.
  20. Madea's Destination Wedding
    Nearly every scene plays a bit too long. The characters keep at it until they exhaust the situation and whatever jokes it brings, to the point it stops being funny and starts to grow tiresome.
  21. Regretting You
    The line between a good soap opera and a bad soap opera can sometimes be razor-thin. Regretting You walks the line for a while but lands on the wrong side of it.
    • tbd Metascore
    • 30 Critic Score
    In Whose Name?
    The film as a whole is as tedious and frustrating as West himself, a figure who is so deeply certain of his opinions yet wildly unmoored.
  23. Swiped
    Wolfe’s particular genius seems to have been for marketing. Maybe it’s appropriate that a movie about her plays like a marketing exercise: simplified, sanitized, suspect.
  24. Glenrothan
    It’s unfortunate that the film itself is more like a bottom-shelf blend: easily drinkable, highly forgettable, bland. Worse still, it won’t get you even mildly buzzed.
  25. Driver's Ed
    Not that this is the fault of an appealing young cast gamely doing their best to inject energy and personality into inert, exposition-heavy, joke-light dialogue that could not sound less like the way modern teenagers talk if every second word was “rad.”
  26. Vicious
    The movie devolves into something inexact and thoughtless, without anything distinct to recenter it. It’s hardly a sin for cruelty to be the point, especially in horror. But you have to at least land your punches.
  27. Tyler Perry's Finding Joy
    It’s Perry’s version of a holiday movie and a connect-the-dots love story, but it’s cliché-driven in such a minimal way that it almost makes you yearn for the Perry movies that can feel like a long night of channel surfing all rolled into one.
    • 24 Metascore
    • 30 Critic Score
    The Brave
    The main fault lies with the writing. Lacking both a realistic grounding and compelling internal momentum, pic wastes its handsome mounting and capable cast on a plodding tale that eludes either psychological or allegorical sense.
  29. Dracula
    It’s not as if we needed to see “Dracula” remade as a blood-soaked Valentine’s Day movie.
  30. The Electric Kiss
    It seemed like an entertainment that might have something for everyone. But The Electric Kiss is so overcalculated, so stuffy and labored, so infatuated with its own conceits that I suspect it will end up satisfying virtually no one.
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