Variety's Scores

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For 17,760 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: 9,121 out of 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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    • 66 Metascore
    • 50 Critic Score
    A Lion Is in the Streets
    The Adrian Locke Langley novel was a long time coming to the screen since first purchased by the Cagneys for filming. Along the way it lost a lot of the shocker quality and emerges as just an average drama of a man's political ambitions.
    • 85 Metascore
    • 100 Critic Score
    From Here to Eternity
    An outstanding motion picture...It’s still raw, tough dramatic stuff of great entertainment pull for adult ticket buyers. Only a few will find it too strong for their effete tastes. Importantly, the distaffers will like it.
    • 78 Metascore
    • 90 Critic Score
    Roman Holiday
    [William Wyler] times the chuckles with a never-flagging pace, puts heart into the laughs, endows the footage with some boff bits of business and points up some tender, poignant scenes in using the smart script and the cast to the utmost advantage.
    • 78 Metascore
    • 80 Critic Score
    The War of the Worlds
    A socko science-fiction feature, as fearsome as a film as was the Orson Welles 1938 radio interpretation of the H.G. Wells novel.
    • 60 Metascore
    • 70 Critic Score
    The Caddy
    Dean Martin and Jerry Lewis dig a lot of divots among the fairways of The Caddy. It's an amusing romp [from a story by Danny Arnold] that, while not always parring previous M & L successes, comes close enough.
    • 93 Metascore
    • 70 Critic Score
    The Band Wagon
    Astaire, as the film star, shows his ability with a song and dance character.
    • 65 Metascore
    • 70 Critic Score
    Lili
    Aumont is delightful as the magician and his act with Gabor, staged almost as a production piece, is a high-light.
    • 84 Metascore
    • 70 Critic Score
    Stalag 17
    The legit hit about GI internees in a Nazi prison camp during the Second World War is screened as a lusty comedy-melodrama, loaded with bold, masculine humor and as much of the original’s uninhibited earthiness as good taste and the Production Code permit.
    • 68 Metascore
    • 70 Critic Score
    It Came from Outer Space
    Direction by Jack Arnold whips up an air of suspense and there is considerable atmosphere of reality created, which stands up well enough if the logic of it all is not examined too closely.
    • 68 Metascore
    • 60 Critic Score
    House of Wax
    Andre de Toth's direction, while uneven, nonetheless gears it to the medium.
    • 85 Metascore
    • 90 Critic Score
    Shane
    George Stevens handles the story and players in a manner that gives his production and direction a tremendous integrity. The casting is exceptionally good and the male stars have never been seen to better advantage.
    • 68 Metascore
    • 60 Critic Score
    I Confess
    An interesting plot premise holds out considerable promise for this Alfred Hitchcock production, but I Confess is short of the suspense one would expect.
    • 75 Metascore
    • 80 Critic Score
    Ivanhoe
    Ivanhoe is a great romantic adventure, mounted extravagantly, crammed with action, and emerges as a spectacular feast.
    • 76 Metascore
    • 90 Critic Score
    Peter Pan
    James M. Barrie's childhood fantasy, Peter Pan, many times legit-staged, and previously filmed with live actors, is a feature cartoon of enchanting quality.
    • 70 Metascore
    • 50 Critic Score
    Niagara
    Niagara is a morbid, cliched expedition into lust and murder.
    • 86 Metascore
    • 80 Critic Score
    The Bad and the Beautiful
    The screenplay of the George Bradshaw story is exceptionally well-written.
    • 64 Metascore
    • 60 Critic Score
    Road to Bali
    There’s no story to speak of in the script [from a story by Frank Butler and Harry Tugend] but the framework is there on which to hang a succession of amusing quips and physical comedy dealing with romantic rivalry and chuckle competition between the two male stars.
    • 54 Metascore
    • 60 Critic Score
    The Star
    A strong performance by Bette Davis, in a tailor-made role, gives a lift to The Star that it might not have had otherwise.
    • 50 Metascore
    • 50 Critic Score
    Million Dollar Mermaid
    This is a gaudy, conventional biopic based on the career of Australian swimmer Annette Kellerman, appropriately tagged ‘Million Dollar Mermaid’.
    • 84 Metascore
    • 80 Critic Score
    Limelight
    Departing from most forms of Hollywood stereotype, the film has a flavor all its own in the sincere quality of the story anent the onetime great vaudemime and his rescue of a femme ballet student from a suicide attempt and subsequently from great mental depression.
    • 62 Metascore
    • 80 Critic Score
    The Snows of Kilimanjaro
    The script broadens the 1927 short story considerably without losing the Hemingway penchant for the mysticism behind his virile characters and lusty situations.
    • 85 Metascore
    • 70 Critic Score
    The Quiet Man
    Despite the length of the footage, film holds together by virtue of a number of choice characters, the best of which is Barry Fitzgerald’s socko punching of an Irish type. Wayne works well under Ford’s direction, answering all demands of the vigorous, physical character.
    • 61 Metascore
    • 50 Critic Score
    Don't Bother to Knock
    Marilyn Monroe, co-starred with Richard Widmark, gives an excellent account of herself in a strictly dramatic role which commands certain attention, but the story of a psycho baby-sitter lacks interest.
    • 89 Metascore
    • 80 Critic Score
    High Noon
    Cooper does an unusually able job of portraying the marshal. (Review of Original Release)
    • 64 Metascore
    • 80 Critic Score
    The Story of Robin Hood and His Merrie Men
    For his second British live-action production, Walt Disney took the legend of Robin Hood and translated it to the screen as a superb piece of entertainment, with all the action of a western and the romance and intrigue of a historical drama.
    • 79 Metascore
    • 70 Critic Score
    Pat and Mike
    Tracy is given some choice lines in the script and makes much of them in an easy, throwaway style that lifts the comedy punch.
    • 76 Metascore
    • 80 Critic Score
    The Tales of Hoffmann
    Film is a brilliant integration of dance, story and music.
    • 60 Metascore
    • 40 Critic Score
    Gone to Earth
    Primarily a simple yarn about simple people, it is without finesse, polish or sophistication. Dialog just about emerges from the monosyllabical state.
    • 76 Metascore
    • 70 Critic Score
    The Greatest Show on Earth
    As has come to be expected from DeMille, the story line is not what could be termed subtle. While it may draw some critical catcalls, it does effectively serve the purpose of a framework for all the atmosphere and excitement of the circus on both sides of the big canvas. In any case, what bleacher fan wants to get mixed up with a plot he’s going to have to wrestle with?
    • 99 Metascore
    • 90 Critic Score
    Singin' in the Rain
    Concocted by Arthur Freed with showmanship know-how, it glitters with color, talent and tunes, and an infectious air that will click with ticket buyers in all types of situations.
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