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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  1. Jerry Lee Lewis: Trouble in Mind
    This is Ethan’s chance to strut his solo stuff. And he does, in a very Ethan Coen way: clever, modest, borderline invisible, but with a kick that sneaks up on you. ... 'Trouble in Mind' plays like an undiluted shot of rock ‘n’ roll moonshine joy.
  2. Tori and Lokita
    Working in their rigorously lyrical drama-as-documentary style, the Dardennes place the audience on the hamster wheel of Tori and Lokita’s lives, in a way that’s both harrowing and immersive.
  3. Showing Up
    In its minimalist quotidian way, Showing Up is a movie made by someone in masterly control of her medium.
  4. Pacifiction
    Pacifiction is a film in many ways about floating, through life and water and power, inviting the viewer to idly drift right along with it.
  5. Mother and Son
    Inspired by the life and roots of her children’s father, Serraille’s original screenplay embeds tacit, national-scale socioeconomic commentary in its intimate domestic story, though smartly avoids making blunt symbols of its sharp, specific characters.
  6. Close
    I am convinced that Dhont has a masterpiece in him. But there’s an immaturity to his movies that he must first overcome. He’s already so close
  7. Broker
    Kore-eda is surprisingly generous toward his characters, nearly all of whom are breaking the law, but whose fundamental decency is brought out when dealing with others in need.
  8. Just 6.5
    The result — a stunning Iranian-style riff on “The French Connection” — is a run-and-gun, Hollywood-caliber cop movie grounded by a clear-eyed assessment of how Tehran’s system works, and all the ways in which it doesn’t.
  9. Enys Men
    Visually and sonically, Enys Men is utterly intoxicating, but a lack of any nourishing interplay between form and content makes it feel like getting drunk on an empty stomach, alone on an island where everything happens at the same time, and nothing really happens at all.
  10. Elizabeth: A Portrait in Part(s)
    It’s a willfully idiosyncratic movie that feels like a strangely fitting final film, since it amounts to Michell’s cockeyed tip of the hat to the monarchy and what it means. You could have a good debate about what, exactly, he’s trying to express in “Elizabeth,” but what I saw is a level-headed adoration that is neither fussy nor old-fashioned, since it’s cut with an acerbic awareness of the absurdity of royalty in the contemporary age.
  11. Zero Contact
    Just when you think this nothing-burger can’t get any more exasperating, it spends a full 10 post-fadeout minutes on final credits.
  12. Hunt
    A twisty, action-packed political thriller — one that keeps you guessing even as it spirals into ever-crazier realms.
  13. Forever Young
    [Bruni Tedeschi] fails to make much of a case for why any of it should resonate with anyone outside this tiny, hermetically enclosed community. ... [An] indulgent, histrionic personal history.
  14. Nostalgia
    Even in its more generic stretches, Martone’s latest feels both inviting and convincingly inhabited, a siren song to the past that confronts us with a violent, unromantic present, paved under with the same old, blood-washed cobblestones.
  15. Leila's Brothers
    The helmer constructs scenes with a bustling documentary energy, studiously avoiding melodramic tropes, even when they might serve to make the narrative more engaging, less unwieldy or simply easier to digest overall.
  16. Holy Spider
    Before a final act dealing with the fascinating social fallout once Saeed’s crimes are known and he becomes, in some quarters including his own household, a hero on a righteous moral crusade, Abbasi’s film hews close to this established template.
  17. We Feed People
    [A] technically polished and emotionally stirring close-up view of celebrity chef José Andrés and his nonprofit World Central Kitchen.
  18. A Taste of Whale
    This solid both-sides-now overview also raises wider questions regarding humanity’s sometimes-hypocritical ethics toward what we eat, where we get it, and how.
  19. Stars at Noon
    Trish is the plum part here, and a sensational Qualley — cycling through a ragged thrift-store wardrobe, with a lavish halo of dark curls that can’t help but recall her mother, Andie MacDowell — grabs it with both callused hands.
  20. EO
    EO is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy, wide eyes of a donkey whom we come to adore.
  21. Moonage Daydream
    Watching Moonage Daydream, there are essential facts you won’t hear, and many touchstones that get skipped over (in the entire movie, you’ll never even see an album cover). But you get closer than you expect to the chilly sexy enigma of who David Bowie really was.
  22. Elvis
    Luhrmann has made a woefully imperfect but at times arresting drama that builds to something moving and true. By the end, the film’s melody has been unchained.
  23. Cairo Conspiracy
    What we’re dealing with here is a fairly conventional political thriller — think “House of Cards,” minus the sleek David Fincher aesthetic or much in the way of suspense — set in a world no one has dared to explore on screen before now.
  24. The Eight Mountains
    Stately and serene from a distance, but up close riven with the fissures and follies of a friendship that costs both men so much but gives them even more, the movie, too, is a mountain.
  25. Decision to Leave
    After the world-conquering success of Bong Joon-ho’s “Parasite” and the small-screen domination of “Squid Game,” your new, sublimely accomplished Korean thriller obsession is here, and it is Park Chan-wook’s Decision to Leave.
  26. Crimes of the Future
    The movie, like so many Cronenberg films, is a gut-twister that is really, just underneath, a painstakingly chewed-over and cerebral experience. It’s an outré nightmare that keeps telling you what to think about what it means.
  27. R.M.N.
    R.M.N. is a slow-motion snapshot of a deeply riven community flying apart in all directions, as though some bomb, detonated years or perhaps even centuries ago, has never stopped exploding.
  28. Fire Island
    Yang may be the MVP in this ensemble, though the cast is terrific across the board.
  29. The Bob's Burgers Movie
    Nothing in here makes an argument to be on the big screen. But it’s darned delightful, like a fizzy soda on a hot day.
  30. Corsage
    Full of odd glitches and deliberate flubs in period detail, the film feels like an invitation into a secret conspiracy to reach back through time and, with deft, irreverent 21st-century fingers, loosen the stays on Empress Elisabeth’s corsetry just a little.
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