Variety's Scores

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For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
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  1. Rosaline
    There’s something fresh about the story’s unwillingness to pit a woman’s romantic quests against her career goals.
  2. Is That Black Enough for You?!?
    The beauty of the documentary is that Mitchell invites the audience to share in the transformational quality — the life force — that he experienced in Black cinema.
  3. The Bohemian
    Via a blend of free narrative speculation and exacting musical presentation, Petr Vaclav’s stately, sumptuous biopic Il Boemo seeks to restore a degree of iconic status to a talent latterly overshadowed by relative 18th-century contemporaries, albeit not with much swagger or modernity of its own: This is costume drama of a traditional, ornately brocaded stripe, a classical music lesson for classicists.
  4. Lynch/Oz
    Lynch/Oz is bursting with ideas about it, and about how it colonized the consciousness of David Lynch, but the movie is too pie-in-the-sky to quite make it over the rainbow.
  5. Last Flight Home
    It is a tribute, a grappling with mortality, an exercise in self-surveillance, a messy home movie, a brief account of aviation history and a lesson in letting go and grief.
  6. Luckiest Girl Alive
    Because of its unwieldy aspects, primarily those shoe-horned into the climax, its simplistic conclusion draws ire instead of the inspired elation these filmmakers crave.
  7. Lyle, Lyle, Crocodile
    For all the purity of its pedigree, and as agreeable and lightly touching as it sometimes is, I wish that Lyle, Lyle, Crocodile didn’t still seem, at heart, like a likable movie that had come out of the processor.
  8. Roald Dahl's Matilda The Musical
    The film, on balance, is cheery, sherbet-colored stuff, bursting with goodwill for all good people. What you remember from it, however, is each scene in which elder malevolence deliciously spoils the party.
  9. Marlowe
    A phony, flimsy attempt at vintage noir.
  10. Hellraiser
    The new Hellraiser works as metaphor, as flesh-annihilating spectacle. Yet it doesn’t work as a story.
  11. Mr. Harrigan's Phone
    The results, balancing overfamiliar warm-and-fuzzy growing-up saga and halfhearted horror revenge tale, evaporate quickly from the mind — there’s little cumulative force that might linger. Yet at the same time, Hancock does an admirable job keeping this hour and three-quarters polished and engaging, maintaining consistent viewer interest even if the ultimate reward underwhelms.
  12. Till
    It would take a tough constitution not to be moved by Till, although that doesn’t necessarily make it great drama.
  13. Please Baby Please
    Kramer sketches out a feverish queer manifesto on gender that feels both novel and familiar.
  14. My Best Friend's Exorcism
    Though this ’80s-set horror-comedy takes an old-school approach to capturing the horrific happenings, the stunts are lackluster and the comedic hijinks are a tiresome bore. With very little interest conjured from the filmmakers to properly develop their characters, there’s little incentive to stay interested.
  15. Walk Up
    Existing sharply in such a naturalistic register that they scarcely seem scripted at all, all the film’s interactions are still so cleverly designed that despite being blurry with alcohol or attraction or self-analysis, they all highlight the funny, sad truism that no one human can ever really know what it’s like to be another.
  16. The Munsters
    The film is a lot like its hero, Herman Munster: benignly dim-witted, Day-Glo in color, top-heavy with tomfoolery, lumbering in one direction and then the next, always cracking itself up in an innocently aggressive monster-mash way.
  17. Hocus Pocus 2
    Hocus Pocus 2 is actually the better made film, even if it amounts to little more than a stealth remake, with strategic decisions about the present-day and old-Salem witch trios being engineered to allow for more sequels, whether or not its star trio return.
  18. Sr.
    Sr. packs a wallop in the end, when it comes time for father and son to say goodbye.
  19. The Girl with a Bracelet
    The Girl With a Bracelet comments intelligently on our culture’s propensity to sex-shame and emotionally instruct young women in particular — points which stand regardless of whether shedunnit or not.
  20. Dalíland
    It’s both a highly entertaining movie and, by the end, a haunting one. It revels in Dalí’s artifice even as it mercilessly peels away his layers.
  21. Smile
    Smile will likely be a hit, because it’s a horror film that delivers without making you feel cheated. At 90 minutes, though, with less repetition, it might have been a more ingenious movie.
  22. Amsterdam
    The result has all the red flags of a flop, but takes a strong enough anti-establishment stand — and does so with wit and originality — to earn a cult following. There’s too much ambition here to write the movie off, even if Amsterdam, like the history it depicts, winds up taking years to be rediscovered and understood.
  23. Sidney
    The film isn’t groundbreaking, but its subject most certainly was, and Hudlin has the good sense to get out of the way and give Poitier the spotlight, which shines all the brighter through the eyes of the talents who followed in his footsteps.
  24. The American Dream and Other Fairy Tales
    This engaging economics lesson, bolstered by articulate experts and amusing animated sequences, would be right at home in high school and college classrooms. Heck, it would be a nice addition to Disney Plus, breaking up all the hagiographic puff-pieces on offer there.
  25. My Imaginary Country
    While in formal terms it’s more of a standard, reportage-based doc than any of his recent essays, it is also the rarest of projects: one in which a venerated member of an older generation of political activists communicates a fervent admiration for his younger counterparts and a deep, grateful optimism for the future they are building.
  26. Devotion
    Director JD Dillard dazzles with see-it-in-Imax airborne sequences, but the meat of the film focuses on the friendship between Brown (“Da 5 Bloods” star Jonathan Majors) and his white wingman, played by Glen Powell, the “Hidden Figures” actor who most recently appeared in “Top Gun: Maverick.”
  27. The Enforcer
    Reaching for the grandiose, it never grasps anything beyond the generic.
  28. V/H/S/99
    Here, nothing stands out: The best episodes are merely good enough, and the worst just tiresome.
  29. The Swimmers
    At a bloated 134 minutes . . . your brain may well start to prune, the way fingers do when they spend too much time in water.
  30. Raymond & Ray
    Raymond & Ray is curiously alienating despite the two A-listers in the driver seat, some decent chuckles to spare and a handsome, cinematic finish courtesy of DP Igor Jadue-Lillo.
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