Variety's Scores

For 17,779 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:
17779 movie reviews
  1. The rare rock doc that’s a must-see.
  2. What The Order accomplishes that’s most haunting, and perceptive, is that it shows us how white supremacy in America can be two things at once, two sides of the same coin: the legal and “presentable” side, and the underlying violent side.
  3. Now, just one year shy of the pop phenom’s 50th anniversary, director Jason Reitman gives back, turning an oral history of the very first episode into a rowdy, delectably profane backstage homage.
  4. Youth (Homecoming) stands on its own, as a genuinely sorrowful film about how deeply the churn of industry has worked its way into people’s bones, as though they’ve become one with the machines they operate.
  5. You can feel the tension as Morris untangles the trail of responsibility, drawing a thin, clear line through a real-world conspiracy that resulted in more than 4,000 kids — some no more than infants — being whisked away to facilities far removed from their parents.
  6. Loktev’s immersion in the action provides a pulse-pounding quality when things come crumbling down, resulting in an intimate, enormous, urgent political portrait of speaking truth to power, and speaking it together.
  7. It takes this fabled, high-swoon moment of pop-music history, almost all of which we now view through a mythological lens, and humanizes it in an exhilarating way.
    • 76 Metascore
    • 90 Critic Score
    Its alignment with its characters’ emotional currents is cemented by some of Yamada’s flourishes.
  8. For genre aficianados, it’s bold, mind-bending work which satisfies that so-often-frustrated craving: for a zombie movie with brains.
  9. Ultimately, it’s extremely doubtful that any of this would work nearly as well as it does without Hartnett at the center of the storm, anchoring the bloody chaos and generating rooting interest with a performance defined by propulsive physicality, industrial-strength enthusiasm and an indefatigable willingness, even eagerness, to repeatedly make himself the butt of the joke.
  10. Directed with piercing insight, emotional depth and true compassion by Miwa Nishikawa, Under the Open Skies tells the heartbreaking tale of a pariah whose soul is crushed by systemic discrimination and a world of hypocritical conformity.
  11. Alive with plenty of droll British humor and with a music-filled, picturesque finale that is sincerely earned, The Ballad of Wallis Island is the best kind of crowd-pleaser: disarming, joyful and full of compassion for its oddball characters. This Sundance charmer doesn’t hit a false note.
  12. Sex
    Sex certainly comes up early and often in this playful, intricately nuanced character study, but in consistently surprising, stereotype-averse ways.
  13. Whether gazing in rapt widescreen across wondrous ancient structures, ruined recent cityscapes or the oceanic shift and shake of a stone quarry in action, this is blatantly dazzling, epic-scale filmmaking that nonetheless invites viewers to consider the implications of our awe.
  14. In its tiny-scaled staged-documentary way, Peter Hujar’s Day is exquisitely done and arresting to watch.
  15. Just because Malick’s influence can be felt does not mean that Bentley hasn’t found his own vocabulary to tell Grainier’s story. At times, Train Dreams feels almost quilt-like in the way its pieces fit together, with certain sounds and images flickering briefly, almost subliminally, across our consciousness, often to echo further on.
  16. A humble marvel, Omaha introduces a filmmaker with a privileged sensibility to translate these opposing forces into a tapestry of scenes imbued with loving compassion for the characters experiencing them.
  17. Through the eyes of its delightfully brave, yet utterly relatable subject (also the de facto cinematographer), this terrifying, revelatory and poignant exposé offers an unseen human angle on an ongoing conflict that’s continues to be widely addressed in documentary cinema.
  18. Like its predecessor, this is an angry, viscerally illustrative film — but it’s a weary one too, occasionally narrating its first-hand view of military combat with the jaundiced sense of futility that comes with living through long-term conflict.
  19. I defy you to see It’s Never Over, Jeff Buckley and not fall in love with Jeff Buckley’s voice. By the time the film is over, you want to find a way to go back and rescue him to let him live the life he should have.
  20. Come See Me in the Good Light, is very good on the existential. But Gibson and Falley are even more generous in sharing their journey through the medical morass.
  21. Osit’s brilliant, subtly needling film leaves us unnerved and alert, but not certain of our convictions — an outcome, perhaps, that more true-crime programming should pursue.
  22. With The Things You Kill Khatami turns in an absorbing and twisty take on introspection.
  23. The sort of film that urges one to tell everyone about it so that they too can bask in its wondrous pleasures, “DJ Ahmet” is a revelation in that it seamlessly straddles the line between laugh-out-loud crowd-pleaser and art-house gem with affecting gravitas.
  24. What this spare drama truly offers is a new category. Call it “deep fidelity,” in which the filmmaker captures without flash or pretense the material, emotional and even spiritual lives of his protagonists. Charles Burnett’s classic “Killer of Sheep,” or far more recently Garrett Bradley’s documentary “Time,” come to mind as analogues.
  25. 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.
  26. Although there are urgent economic and political challenges facing these families, this isn’t muckraking cinema. Instead, the filmmaker hews to the quotidian, the weekly, the annual. Shot in black and white, this portrait of a people is affecting and achy.
  27. 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.
  28. Steeped in both unfaltering and pleasant humanity, Vargas’ characters are what some might deem “problematic.” But they ultimately depict complicated mentalities, with shades of true-to-life negative and redeeming traits.
  29. This is a smart and emotionally immersive comfort movie where you get the happy with a side of sad in the same way that the messiness of our own lives often unfolds, with laughter and tears served as a pair in a package deal.

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