Variety's Scores

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For 17,758 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 17758
  2. Mixed: 7,002 out of 17758
  3. Negative: 1,635 out of 17758
17758 movie reviews
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  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. Hello, Bookstore
    Hello, Bookstore is a salute to the sacramental qualities of art that are threaded through everyday life.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.”
  11. 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.
  12. 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.
  13. 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.
  14. 365 Days: This Day
    It’s piping hot trash.
  15. Anaïs in Love
    Some might wonder what Anaïs in Love really has to say for itself; the film, perhaps, objects to the idea of young women like its cheerfully confused heroine having to explain themselves at all. Either way, this zephyr-blown dandelion of a movie isn’t going to break a sweat to get its message across.
  16. Memory
    In the end, “Memory” isn’t terribly convincing, but it’s at least trying for something more serious than most.
  17. Downton Abbey: A New Era
    Fellowes gives us an affectionate group hug, which is effectively what these encore visits amount to.
  18. The King's Daughter
    It was on this film that Scodelario met Walker. The couple are now married, which suggests there’s a “happily ever after” to be found somewhere in this froufrou film maudit.
  19. Cypress Hill: Insane in the Brain
    Estevan Oriol’s entertaining, energetic, better-than-it-had-to-be documentary Cypress Hill: Insane in the Brain offers a more complete picture of this massively popular yet often underestimated grou
  20. The Earth Is Blue as an Orange
    It’s when the film’s natural and metatextual components overlap and disrupt each other that The Earth Is Blue as an Orange is most arresting.
  21. Bad Roads
    Although the various episodes don’t quite add up to a strong narrative whole, they do gain extra resonance from current events in this troubled region.
  22. Charlotte
    What might have seemed a familiar if sad drama in live-action form benefits from this relative novelty of presentation, which lends a certain universality, as well as heightened viewer access, to Salomon’s story. But the rather pedestrian animation here also makes Charlotte a bit of a disappointment.
  23. Marvelous and the Black Hole
    A set-your-watch-by-it riff on the unlikely-friendship-helps-two-lonely-people formula, this time involving a troubled schoolgirl and a stage magician, it is however so nicely performed and takes such honest pleasure in the flourishes of its little magic show, that only a hard heart would mention that the palmed coins and hidden cards of its construction were visible all along.
  24. Stanleyville
    With a firm commitment to its alluringly offbeat premise and a grounding lead performance from Susanne Wuest, this indie oddity is an enjoyable descent into the absurd despite an apparent lack of interest in answering most of the questions it raises.
  25. The Innocents
    This superior chiller is both a satisfying genre exercise and a minute observation of the process by which young children acquire morality; its most striking aspect may just be the empathy Vogt displays for his 7- to 11-year-old stars, and the extraordinary juvenile performances that empathy brings out.
  26. Eiffel
    Bourboulon hatches a second-rate romance, rather than detailing the rich, real-life drama that swirled around Eiffel’s controversial endeavor.
  27. Father
    Will Nikola, like Job, regain some measure of grace if he stoically endures enough suffering? The barely discernible uptick of optimism that closes the powerful but grueling Father is a small mercy in suggesting he might
  28. White Building
    Even just the rooftop of this vast, scabbed Phnom Penh apartment complex seems to have a thousand stories to tell — it’s perhaps little wonder that Neang’s melancholic, perplexed, slightly ponderous feature debut gets a little lost navigating them.
  29. The White Fortress
    The sad, wise heart of Drljača’s small, impressively controlled film condemns neither of them, but instead understands what horror stories and fairytales have in common: both are narratives in which the characters have no control, and are instead propelled by forces far bigger than they are, toward destinies they were born into that they cannot avert.
  30. Bloody Oranges
    Few movies swap genres halfway through, and even fewer do so successfully. “Bloody Oranges” does both.
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