Variety's Scores

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For 17,777 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: 9,133 out of 17777
  2. Mixed: 7,008 out of 17777
  3. Negative: 1,636 out of 17777
17777 movie reviews
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  1. Brahmastra Part One: Shiva
    Leads Kapoor and Bhatt have an excess of charm and style that leaps off the screen and grabs your heart.
  2. Barbarian
    To Cregger’s credit, the sense of dread he creates is the stuff that the very best horror movies are made of.
  3. Clerks III
    Is this all wildly self-indulgent? A bit. Does it feel like the product of a filmmaker with plenty of fresh ideas? Not really. Has Smith lost his fastball as a writer? You could certainly make that case, and the screenplay’s attempts to recapture some of the rapid-fire pop culture references and x-rated musings of the director’s heyday often land painfully wide of the mark. But there’s something strangely poignant about it all the same.
  4. Pinocchio
    Roping a game Tom Hanks into the fold as the kindly woodworker Geppetto, and employing countless digital artisans to recreate the iconic character design of the protagonist to eerily lifeless effect, “Pinocchio” is a lavish yet hollow retread that will surely give the original a boost when it arrives on Disney+ this weekend.
  5. Burial
    Not-quite-horror despite its macabre theme and mood, this sophomore directorial feature for Ben Parker is a handsomely produced period thriller that delivers in terms of action and atmospherics, even if his somewhat convoluted story doesn’t maximally pay off.
  6. The Son
    I watching The Son play out, this family’s tragedy becomes our own, and Zeller’s warning becomes impossible to ignore.
  7. See How They Run
    See How They Run is a retro homage that surprises audiences with giggles and suspense.
  8. The Eternal Daughter
    This slight story examines the mystery of the mother-daughter bond without getting much closer to solving it, and when the mist clears is revealed to resemble the hotel it haunts, in being elegant but empty, save for those elusive echoes.
  9. Icarus: The Aftermath
    Incredible and enraging in equal doses, the project plays like a tense spy thriller as Rodchenkov is assigned a security team and shuffled from one safe house to another, while enemies of the state — Sergei Skripal and Alexei Navalny — are poisoned with the Russian nerve agent Novichok.
  10. Don't Worry Darling
    The movie takes you on a ride that gets progressively less scintillating as it goes along.
  11. After Ever Happy
    When that final “to be continued…” title appears — and never has a girly, curly typeface looked more like a ransom note — it’s by far the most heart-clutching #Hessa moment so far, because we realize we’re still at least one whole movie away from release from our collective captivity to this absolute nonentity of a franchise.
  12. Medieval
    Medieval succeeds as a lively, handsome chunk of history (however freely imagined), with nary a dull moment between densely-packed intrigues, chases and battles.
  13. The Banshees of Inisherin
    The result feels closer than any of his previous films to the barbed, intimate lyricism of McDonagh’s work as a playwright, and more deeply, sorrowfully felt to boot.
  14. Argentina, 1985
    That Argentina, 1985 managed to toggle between such emotionally raw material and more amped-up, tension-driven subplots — as Strassera and his family weather death threats and cars explode in public squares — without seeming callous or dramatically opportunistic is a credit to Mitre, whose grasp on his story is high-key and emotionally immediate, but never glib.
  15. The Whale
    Most of The Whale simply isn’t as good as Brendan Fraser’s performance. For what he brings off, though, it deserves to be seen.
  16. Lady Chatterley's Lover
    In the end, the couple’s chemistry is off the charts, and that’s all that matters — though there’s still a too-tasteful David Hamilton-like quality to it all.
  17. A Couple
    The final film is elegant and empathetic, but never quite emotionally involving: For all its rich, heightened articulation of a woman’s distress and unrest, the sense of a life being academically magnified under glass never quite leaves the endeavor.
  18. Empire of Light
    In the era when content is king, Sam Mendes still believes in moving pictures. Empire of Light is the proof.
  19. Pearl
    Its distinctive look and oddly appealing antihero (picture Norman Bates as Shelley Duvall might have played him) could actually make this the more popular of the two films.
  20. Women Talking
    The whole scenario is designed to get your blood boiling, while the resulting conversation can’t help but instill hope, as Polley gives these women a rare opportunity to reinvent their world.
  21. The Wonder
    An evenhanded but ultimately preposterous adaptation of Emma Donoghue’s novel, co-written by the author herself (with an assist from Alice Birch).
  22. Athena
    The result is nothing short of an urban war movie, as charismatic characters decide to do something about the outrage people have been expressing toward law enforcement in the real world.
  23. Bones and All
    Bones and All is a concept in search of a story. The film doesn’t draw us in. It stumbles and lurches and seems to make itself up as it goes along. You may feel eaten alive with boredom.
  24. Gigi & Nate
    What happens once the film vilifies the animal rights contingent, however, is an example of how movies can protect their heroes and create their scapegoats (pardon the expression) to the detriment of dramatic complexity.
  25. Bardo, False Chronicle of a Handful of Truths
    So why is “Bardo,” for all its skill, reach-for-the-stars aspiration, and majestic sweep, such a windy, confounding, and — okay, I’ll just say it — monotonous experience? The movie is full of good things, but it’s three hours long and mostly it’s full of itself.
  26. Love in the Villa
    Love in the Villa’s building blocks may be as phony and manufactured as that balcony, but romantics will assuredly see and feel that the sentimental thematic resonance surrounding love and destiny comes from a genuine place.
  27. TÁR
    The movie is breathtaking — in its drama, its high-crafted innovation, its vision. It’s a ruthless but intimate tale of art, lust, obsession, and power.
  28. White Noise
    As a movie, White Noise announces its themes loudly and proudly, but the trouble is that it announces them more than it makes you feel them.
  29. The Invitation
    The predictability of events during the film’s first hour of gothic-thriller setup is all the more annoying because of the plodding pace. Evie finally stands up for herself during some modestly clever third-act turnabouts, but, really, that’s not quite enough to regenerate a rooting interest in the character.
  30. Me Time
    The disarray is baffling for the audience, and downright punishing for Hart, whose lead character is forced to shape-shift between scenes, veering from milquetoast to petty to tyrannical to pushed-around.
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