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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    • 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.
    • 57 Metascore
    • 50 Critic Score
    The Patsy
    The Patsy's slim story line has it ups and downs, sometimes being hilarious, frequently unfunny.
    • 54 Metascore
    • 60 Critic Score
    Bedtime Story
    Bed time Story will divert the less discriminating, although there are times when even such major league performers as Marlon Brando and David Niven have to strain to sustain the overall meager romantic comedy material.
    • 83 Metascore
    • 80 Critic Score
    From Russia with Love
    From Russia with Love is a preposterous, skillful slab of hardhitting, sexy hokum. After a slowish start, it is directed by Terence Young at zingy pace.
    • 61 Metascore
    • 70 Critic Score
    The Chalk Garden
    On paper, this sounds like a ripe old piece of Victoriana, but curiously it works, largely because of confident, smooth performances by all concerned.
    • 69 Metascore
    • 70 Critic Score
    Viva Las Vegas
    The sizzling combination of Elvis Presley and Ann-Margaret is enough to carry Viva Las Vegas over the top.
    • 91 Metascore
    • 50 Critic Score
    An Autumn Afternoon
    This view of contemporary middle class life in Japan is too leisurely paced, too sentimental in design and its humorous social comments too infrequent.
    • 54 Metascore
    • 60 Critic Score
    The Evil of Frankenstein
    In this one Peter Cushing plays the baron with his usual seriousness, avoiding tongue-in-the-cheek, and he is the main prop in the proceedings.
    • 83 Metascore
    • 70 Critic Score
    The Naked Kiss
    Good Samuel Fuller programmer about a prostie trying the straight route, The Naked Kiss is primarily a vehicle for Constance Towers. Hooker angles and sex perversion plot windup are handled with care, alternating with handicapped children 'good works' theme.
    • 55 Metascore
    • 80 Critic Score
    The Pink Panther
    Quite apart from the general air of bubbling elegance, the pic is intensely funny. The yocks are almost entirely the responsibility of Peter Sellers, who is perfectly suited as a clumsy cop who can hardly move a foot without smashing a vase or open a door without hitting himself on the head.
    • 94 Metascore
    • 70 Critic Score
    The Servant
    The Servant is for the most part strong dramatic fare, though the atmosphere and tension is not fully sustained to the end.
    • 73 Metascore
    • 80 Critic Score
    Seven Days in May
    The performances are excellent down the line, under the taut and penetrating directorial guidance of John Frankenheimer.
    • 58 Metascore
    • 70 Critic Score
    Sunday in New York
    Norman Krasna's screenplay, from his Broadway legiter, doesn't really get rolling until it has virtually marked time for almost an hour, but once it gets up this head of steam the entire complexion of the picture seems to change.
    • 97 Metascore
    • 90 Critic Score
    Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    George C. Scott as the fiery Pentagon general who seizes on the crisis as a means to argue for total annihilation of Russia offers a top performance, one of the best in the film. Odd as it may seem in this backdrop, he displays a fine comedy touch.
    • 42 Metascore
    • 50 Critic Score
    Children of the Damned
    What weakens this sequel is the fact that, unlike the original, it is burdened with a "message."
    • 61 Metascore
    • 70 Critic Score
    The Sword in the Stone
    It emerges as a tasty confection.
    • 72 Metascore
    • 80 Critic Score
    America America
    Elia Kazan gives a penetrating, thorough and profoundly affecting account of the hardships endured and surmounted at the turn of the century by a young Greek lad in attempting to fulfill his cherished dream - getting to America from the old country.
    • 83 Metascore
    • 90 Critic Score
    Charade
    Firsttime teaming of Cary Grant and Audrey Hepburn, a natural, gives the sophisticated romantic caper an international appeal, plus the selling points of adventure, suspense and suberb comedy.
    • 87 Metascore
    • 80 Critic Score
    The Incredible Journey
    Sheila Burnford’s book of the same title has been given a vivid translation in The Incred ible Journey, a live actioner exquisitely photographed in the Canadian outdoors.
    • 62 Metascore
    • 70 Critic Score
    McLintock!
    Wayne is in his element, or home, home on the Waynge. O’Hara gives her customary high-spirited performance, although it’s never quite clear what she’s so darned sore about.
    • 59 Metascore
    • 70 Critic Score
    It's a Mad, Mad, Mad, Mad World
    Being a picture of extravagant proportions, even its few flaws are king-sized, but the plusses outweigh by far the minuses. It is a throwback to the wild, wacky and wondrous time of the silent screen comedy, a kind of Keystone Kop Kaper with modern conveniences.
    • 77 Metascore
    • 70 Critic Score
    Tom Jones
    It has sex, Eastmancolor, some prime performers and plenty of action. Tony Richardson has directed John Osborne’s screenplay with verve, though, occasionally, he falls back on camera tricks and editing which are disconcerting.
    • 61 Metascore
    • 80 Critic Score
    Lilies of the Field
    Made on a modest budget and filmed entirely on location in Arizona, Lilies reveals Sidney Poitier as an actor with a sharp sense of humor.
    • 51 Metascore
    • 70 Critic Score
    The V.I.P.s
    This has suspense, conflict, romance, comedy and drama. Its main fault is that some of the characters and the by-plots are not developed enough. But that is a risk inevitable in any film in which a number of strangers are flung together, each with problems and linked by a single circumstance.
    • 74 Metascore
    • 50 Critic Score
    The Haunting
    The artful cinematic strokes of director Robert Wise and staff are not quite enough to override the major shortcomings of Nelson Gidding’s screenplay from the Shirley Jackson novel (The Haunting of Hill House).
    • 67 Metascore
    • 50 Critic Score
    Lord of the Flies
    The theme of young boys reverting to savagery when marooned on a deserted island has its moments of truth, but this pic rates as a near-miss on many counts.
    • 58 Metascore
    • 80 Critic Score
    The Thrill of It All
    Ultimately it is in the design and engineering of cumulative sight gag situations that Thrill of It All excels.
    • 86 Metascore
    • 90 Critic Score
    The Great Escape
    Producer-director John Sturges has fashioned a motion picture that entertains, captivates, thrills and stirs.
    • 93 Metascore
    • 90 Critic Score
    8½
    With 8 1/2 Federico Fellini tops even his trendsetting La Dolce Vita in artistry. Here is the author-director picture par excellence, an exciting, stimulating, monumental creation.
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