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. Brother and Sister
    Alice and Louis are such artificial, wanly self-absorbed characters, forever speaking in finely turned, therapy-honed aphorisms that never sound anything other than screen-written, that it’s hard even to invest in their conflict at an abstract level.
  2. Aftersun
    Aftersun thus works elegantly as a kind of dual coming-of-age study, perfectly served by Mescal’s signature brand of softboi gentleness — here shown maturing and creasing into more hardened, troubled masculinity — and the vitality of Corio, whose deft, lovely performance braids both authentic exuberance and a girlishness that feels more performed, as if for the benefit of her dad.
  3. One Fine Morning
    It knows the fragility of quiet, which is sometimes the sound of inner peace, and sometimes, per that Prévert poem, the echoing unrest of an empty space.
  4. Triangle of Sadness
    The thing about Östlund is that he makes you laugh, but he also makes you think. There’s a meticulous precision to the way he constructs, blocks and executes scenes — a kind of agonizing unease, amplified by awkward silences or an unwelcome fly buzzing between characters struggling to communicate.
  5. A Perfect Pairing
    A Perfect Pairing may lack a unique complexity and leave some sediment behind, but its finish is pleasing nonetheless.
  6. Digger
    In this witty, windblown modern fable, man, nature and machine get to take turns being the enemy and the savior.
  7. Three Thousand Years of Longing
    These days, audiences are so savvy about the tricks at a filmmaker’s disposal that the movie’s greatest achievement is that it seizes our imagination (or perhaps that’s our attention deficit disorder being so brusquely manhandled) and holds it for the better part of two hours, defying us to anticipate what comes next.
  8. Tchaikovsky's Wife
    It’s a drama of dour and often impenetrable obscurity. ... Yet everything about it that’s unsatisfying is also weirdly intentional.
  9. All My Puny Sorrows
    As a portrait of sisterly trust, obligation and estrangement, and the difficulty of carrying familial dependencies into adulthood and beyond, the film is measured and thoughtful, lifted by performances of characteristic sensitivity by Alison Pill and Sarah Gadon.
  10. Armageddon Time
    The movie ends with a rebel gesture that feels too much like…a gesture. It’s the perfect sign-off for a drama that cares, but maybe not enough to see that this kind of caring actually became part of the problem
  11. Final Cut
    It’s a messy and annoying one-joke movie that repeats the joke over and over again — and guess what, it was barely funny the first time.
  12. The Valet
    Sweet-natured and good-humored.
  13. Vendetta
    Vendetta, which is so curiously timid it doesn’t even provide one memorable bit of gratuitous B-movie gore, will evaporate from your memory the moment you return the disc to the Redbox kiosk from which you rented it.
  14. Chip 'n Dale: Rescue Rangers
    This frenetic and funny crossbreeding of live action and cartoon is both a reboot and an anti-reboot, a corporate-funded raspberry at corporate IP, and a giddily dumb smart aleck committed to mocking its joke — and making it, too.
  15. The Last Victim
    Director Naveen A. Chathapuram and scripter Ashley James Louis, working from a story by Chathapuram and Doc Justin, have cobbled together a derivative and numbingly pretentious piece of work distinguished only by the relative novelty of a female lead (well played by Ali Larter) who’s as resourceful, resilient and, when push repeatedly comes to shove, purposefully brutal as guys usually are in movies like this.
  16. Senior Year
    If Alex Hardcastle’s effortfully high-spirited Netflix feature isn’t exactly good, it’s still good enough to provide reasonable throwaway fun, thanks much less to the material than to a cast that elevates it when they can.
  17. Firestarter
    The whole thing plays like “Logan” done in the worst humdrum rhythmless made-for-streaming generic style, the lighting flat, the soundtrack heavy with John Carpenter’s old-school one-man-at-the-synthesizer horror music, because if you took that sound of processed dread away you wouldn’t have much else.
  18. Top Gun: Maverick
    Hardly anything in Top Gun: Maverick will surprise you, except how well it does nearly all the things audiences want and expect it to do.
  19. The Kids in the Hall: Comedy Punks
    While best enjoyed by the already converted, it provides enough showbiz insight and interpersonal drama to entertain newbies.
  20. The Mystery of Marilyn Monroe: The Unheard Tapes
    This is dark, squalid, squinting-through-the-keyhole stuff, and it can make a film like The Mystery of Marilyn Monroe sound like a guilty-pleasure piece of true-crime trash, one of those glorified tabloid-TV exposés with a patina of investigative credibility. In fact, it’s a very good film.
  21. Lux Æterna
    Let’s be clear: Lux Æterna is a glorified Saint Laurent commercial. That’s the tweet-length analysis. But there’s more to it than that.
  22. Hello, Bookstore
    Hello, Bookstore is a salute to the sacramental qualities of art that are threaded through everyday life.
  23. Sneakerella
    Heartening sentiments about gaining confidence, the passionate pull of artistic expression and the ingenious meta context of the narrative’s underpinnings help buff away the scuff marks, making for a surprisingly satisfying reboot of a tired but timeless classic.
  24. Men
    The leaves are so green, the tone is so ominous, and the men are so … Rory Kinnear-y that audiences are all but guaranteed to leave this folk-horror bizart-house offering feeling disturbed, even if no two viewers can agree on what bothered them about it.
  25. The Takedown
    Leterrier manages a few modestly exciting chase scenes, including one that begins in a laser tag course, continues through a bowling alley and a go-kart track, and ends in a crowded supermarket. And his two leads are agreeably amusing and for the most part engaging throughout the film.
  26. Jazz Fest: A New Orleans Story
    To paraphrase an admonition from a classic Rolling Stones album: This movie should be played real loud. And in venues where people can, if they choose, get up and dance.
  27. Vinyl Nation
    The clichéd word that’s most bandied about by vinyl enthusiasts really does apply to the movie that’s been made about it: “warmth.”
  28. Doctor Strange in the Multiverse of Madness
    Doctor Strange and the Multiverse of Madness is a ride, a head trip, a CGI horror jam, a what-is-reality Marvel brainteaser and, at moments, a bit of an ordeal. It’s a somewhat engaging mess, but a mess all the same.
  29. Crush
    What’s jarring in Crush is the absence of some requisite dose of youthful mischief, a sense of stakes and perhaps even a lightly scandalous touch, integral to the spirit of many of the genre staples Cohen and co-writers Kirsten King and Casey Rackham attempt to revive on their own terms.
  30. Vortex
    Vortex doesn’t let us off the hook. Gaspar Noé never does. But if he did, he might transcend his “Behold, you will know the dark side” brand.
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