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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    • 22 Metascore
    • 20 Critic Score
    Friday the 13th
    Lowbudget in the worst sense – with no apparent talent or intelligence to offset its technical inadequacies – Friday the 13th has nothing to exploit but its title.
    • 25 Metascore
    • 20 Critic Score
    Teen Wolf
    Lightweight item is innocuous and well-intentioned but terribly feeble, another example of a decent idea yielding the least imaginative results conceivable.
  3. Ironclad: Battle for Blood
    Writer-director Jonathan English’s dank-looking film delivers enough amputations, decapitations and other instances of rusty-bladed gore to distract undiscerning genre fans stuck between seasons of “Game of Thrones,” but serves no other obvious purpose.
  4. Humshakals
    The problem is not the stretched improbability of the film’s premise, or even the political incorrectness of its caricatured stereotypes (this is slapstick, after all), but rather that the actors fail to come off as funny in any of their incarnations.
  5. Hector and the Search for Happiness
    Happiness means steering clear of Hector and the Search for Happiness.
  6. Exists
    Sanchez’s thoroughly conventional approach here does little to elevate a dismally generic script from frequent collaborator Jamie Nash.
  7. Rock the Kasbah
    Laughs are few, attempts at feel-good catharsis fizzle out limply, and all of Murray’s most elaborate performance setpieces — especially his endless rendition of “Smoke on the Water” for tribal elders — fall embarrassingly flat.
  8. Atlas Shrugged III: Who Is John Galt?
    It’s hard to imagine anyone, however, having a “Eureka!” experience watching these lame movies, this latest least of all.
  9. Scouts Guide to the Zombie Apocalypse
    A witless undead retread served up as a vulgar revenge-of-the-dorks comedy.
  10. Reach Me
    A misbegotten venture that constantly ups its own ante on histrionic overacting, ludicrous plot twists and insipid empowerment mantras.
  11. Vacation
    Key to the success of the Vacation movies was their underlying sweetness — the sense that, for all their foibles, the Griswolds were a surprisingly functional lot. Families looked up at the screen and saw a version of themselves reflected back. Look at the new Vacation and all that stares back is a great comic void.
  12. The Last Witch Hunter
    There are certainly enough dopey diversions here for The Last Witch Hunter to be considerably more fun than it is, but even its most extravagant bouts of silliness are hampered by desultory plotting and Eisner’s oppressively synthetic mise-en-scene.
  13. Vice
    Conveying zero grit, atmosphere or texture (exterior shots are repetitively bathed in cobalt blue), and gathering little in the way of force or dramatic momentum, “Vice” barely engages with its potential ideas beyond the most blandly expository, bullet-ridden level.
  14. Strange Magic
    A thoroughly derivative and unengaging fantasy.
  15. Little Boy
    The problem here isn’t theological; even if it were in service of a different message entirely, the sheer gracelessness of Monteverde’s storytelling would be a massive turnoff.
  16. Kill Me Three Times
    Director Kriv Stenders’ tiresome tale of scheming adulterers, cruel spouses and one bemused hitman (Simon Pegg) feels like poser noir all the way, never achieving the darkly comic flair or freshness of style needed to sell its fatalistic twists.
  17. Rings
    The movie, which will be lucky to eke out a weekend’s worth of business, isn’t scary, it isn’t awesome, and it doesn’t nudge you to think of technology in a new way. But it does make you wish that you could rewind those two hours, or maybe just erase them.
  18. Home Sweet Hell
    Heigl’s performance as a coolly murderous model housewife is the only real reason to even consider watching Home Sweet Hell, an otherwise flailing and risible tale of adultery, extortion and suburban malaise that suggests a poor woman’s “Gone Girl” — one stripped of all tension, style and subtext, and instead rendered with a level of over-the-top gore that would give even David Fincher pause.
  19. Beyond the Reach
    A preposterously bad, grade-Z adventure yarn.
  20. Zoolander 2
    The results may delight those who believe recycled gags and endless cameos to be the very essence of great screen comedy, but everyone else will likely recognize Stiller’s wannabe Magnum opus as a disappointment-slash-misfire, the orange mocha crappuccino of movie sequels.
  21. Absolutely Anything
    It’s devastating to think how far Jones has fallen in the four decades since “Holy Grail,” in which he got more laughs banging a few coconuts together than he musters from his entire movie.
  22. The Sea of Trees
    This risibly long-winded drama is perhaps above all a profound cultural insult, milking the lush green scenery of Japan’s famous Aokigahara forest for all it’s worth, while giving co-lead Ken Watanabe little to do other than moan in agony, mutter cryptically, and generally try to act as though McConaughey’s every word isn’t boring him (pardon the expression) to death.
  23. Faith of Our Fathers
    A clumsily told story of friendship and wartime remembrance that has a tough time serving up a halfway believable moment, let alone a moving and powerful testimony about the Lordship of Jesus Christ.
  24. The Seventh Dwarf
    At half the length or twice the budget, this CG-animated musical mash-up of fairy tales would still be a pretty pathetic excuse for children’s entertainment, short on charm and utterly devoid of magic.
  25. Father Figures
    Father Figures...is a limply spritzing fountain of unconvincing (and unfunny) tricks out of the how-to-write-a-comedy-hit manual.
  26. The Anomaly
    From its elaborate but incoherent premise to its clunkily staged time-freeze fight sequences, not one detail of “The Anomaly” hasn’t been borrowed from a better movie. That magpie opportunism would matter less if the film at least had barreling narrative momentum.
  27. The Choice
    Director Ross Katz’s The Choice, which mimics “The Notebook” in everything but meaningful conflict, believable characters, style and emotional honesty, is a very unsuccessful story.
  28. Fist Fight
    A risible excuse for comedy that treats compulsory education as a joke and violence as a reasonable way to solve problems.
  29. Condemned
    Writer-director Eli Morgan Gesner (a clothing designer and skateboarder who previously helmed the skateboarding and hip-hop doc “Concrete Jungle”) could have milked the premise for gleeful counterculture exploitation (like a 21st-century “Basket Case”) or campy John Waters-style gross-out comedy, but settles for mean-spirited banality.
  30. The Space Between Us
    If romance-seeking audiences know what’s best for them, they’ll put some space between themselves and this movie.
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