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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  1. The Running Man
    It hangs together and mostly obeys the rules of mainstream commercial cinema. Yet it’s clear that what drew Wright to the project was his infatuation with the sci-fi sociology of a retro-future USA.
  2. Now You See Me: Now You Don't
    The climax, picking up on the metaphysical sleight-of-hand that powered “Now You See Me 2,” lifts the veil of deception off reality itself. And does it all in good fun. Which is all this movie is or needs to be.
  3. Tyler Perry's Finding Joy
    It’s Perry’s version of a holiday movie and a connect-the-dots love story, but it’s cliché-driven in such a minimal way that it almost makes you yearn for the Perry movies that can feel like a long night of channel surfing all rolled into one.
  4. I Wish You All the Best
    The pleasant, polished drama provides a compassionate take on a high schooler undergoing considerable change, its only debit being the arguably too-neat depiction of that transitional circumstance.
  5. The Plague
    Drawn from experience and benefiting from some standout performances among its well-selected young cast, The Plague has a familiar coming-of-age narrative, but stranger, subtler undercurrents of creeping dismay at the men these boys will become when, at this formative age, cruelty chlorinates the water they swim in.
  6. Selena y Los Dinos
    This definitive doc about Selena feels comprehensive and illuminating, thanks to candid family interactions found in home movies from their earliest performances at their restaurant, recordings of local Texas TV station appearances, and eventually images captured on the road while traveling in a makeshift tour bus.
  7. The Currents
    This is impressively composed, searching high-art cinema, elevated by its meticulous, silkily textured formal construction
  8. Cactus Pears
    It eventually takes on radiant form, with emotional complexities born out of characters walking around the truth, if only because euphemisms are the only language they have.
  9. Predator: Badlands
    In the end, “Badlands” is about the value of teamwork and learning that “alpha” and “apex” don’t mean the same thing where Predators are concerned.
  10. Put Your Soul on Your Hand and Walk
    Hassona is both fashionable and immensely talented (she shares her Arabic poems and songs with Farsi), and the more we see of her over the movie’s 110 minutes, the more devastating it becomes that we will never meet her, or never truly get to know her.
  11. The Wrecker
    This tale of mob-related malfeasance and solo vengeance in Vegas is slick but thoroughly ridick. However, it’s pacy and colorful enough that those in the mood for a deep-fried knuckle sandwich with extra cheese may have fun.
  12. Hedda
    Not everyone knows Ibsen going in, but that needn’t diminish the satisfaction of watching “Hedda Gabler” so vividly reinvented.
  13. Stitch Head
    Stitch Head, while it remains visually clever, has a bare-bones script that makes it feel like a Pixar movie the writers forgot to add enough jokes to.
  14. Influencers
    The indictment of narcissistic online culture is still little more then an excuse for glam intrigue, and our not-infrequently-lethal anti-heroine’s motivations remain just as cloudy as they were last time. But a good time in enviable vacation spots is guaranteed, with ghoulish demises for many principal figures here served up like caviar on sashimi.
  15. Anniversary
    Even as it thrusts itself into an electrifying, bloodied thriller of a final act, the film doesn’t land any of its social commentary: Its satire remains much too obtuse, its parable much too diffused.
  16. Coexistence, My Ass!
    While there is nothing hilarious about these topics, Eliassi and Coexistence, My Ass do the impossible and deliver radical ideas through humor. Rarely has comedy felt this serious and urgent.
  17. The Love That Remains
    Wise and lyrical and strange, The Love That Remains thrives on its profound understanding of each family’s individual oddness, and the incremental confusion with which growing children regard their parents, as their elders grow smaller and more flawed by the day.
  18. Little Amélie or the Character of Rain
    The look and feel owes an obvious debt to the beloved films of Studio Ghibli, which have offered some of the most iconic representations of wartime Japan and its long, fraught recovery period. “Little Amélie” starts from a place of (mostly endearing) solipsism and builds empathy and emotional depth as it goes.
  19. Song Sung Blue
    Brewer navigates this terrain like a jukebox Jonathan Demme.
  20. Regretting You
    The line between a good soap opera and a bad soap opera can sometimes be razor-thin. Regretting You walks the line for a while but lands on the wrong side of it.
  21. The Hand That Rocks the Cradle
    Unfortunately, the piece ends up laid low by a climax that peters out by taking itself too seriously, but the film’s totality is still made worthwhile by its central performances.
  22. The Choral
    Art counts for a lot more than patriotism to Guthrie, and the happy surprise of Nicholas Hytner‘s film — despite its twee, veddy English trappings — is that it largely takes his side.
  23. Köln 75
    You don’t need to be a Keith Jarrett fan to enjoy Köln 75, but for anyone who is the movie is a savory anecdote that colors in his fluky rapture.
  24. Stiller & Meara: Nothing Is Lost
    It turns out to be a very good film — canny and honest and unexpectedly moving. But it’s layered with a thick and sugary frosting of adoration.
  25. Good Luck, Have Fun, Don't Die
    Good Luck, Have Fun, Don’t Die is an unapologetically irreverent, wildly inventive, end-is-nigh take on the time-loop movie — call it “Terminator 2: Groundhog Day” — except that here, Rockwell’s dizzy protagonist knows what it takes to stop the cycle.
  26. Ozzy: No Escape From Now
    If you’re a big Ozzy fan, you probably already love him for being brave enough to go out and meet his public one last time, against what we can now see from this film were nearly all odds. But the greater bravery might have been going on camera repeatedly for this doc, and allowing himself to convey that old age is not for the faint-hearted, even as it renders you fainter of heart.
  27. Vicious
    The movie devolves into something inexact and thoughtless, without anything distinct to recenter it. It’s hardly a sin for cruelty to be the point, especially in horror. But you have to at least land your punches.
  28. Three Goodbyes
    A funny, rueful valentine to the fine art of the farewell — the smaller ones that litter our lives and the big final one at the end.
  29. Shelby Oaks
    This mix of found-footage, missing-person, demonic-possession and other stock narrative hooks too often feels like a compendium of ideas from other movies Frankenstein’d together, with too little effort put towards finding a personality of its own.
  30. The Twits
    There’s humor in every detail, much of it skewing to the sordid, if not downright scatological, end of the spectrum, from exploding buttocks to anthropomorphic hairballs.
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