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 Contractor
    Being a solid cut above average is good enough, given so much formulaic mediocrity among thrillers cluttering the streaming market.
  2. You Are Not My Mother
    Steeped in local folklore, it lets mythic and mind-based terrors exist side by side, allowing the viewer to interpret and believe what they will. This leeway comes at no cost, however, to its effective atmospherics, which sink into the bones like an unexpected twilight chill.
  3. Measure of Revenge
    A mess from start to finish, this would-be thriller about a mother seeking vengeance (Melissa Leo) never comes close to raising the pulse but does raise more than a few eyebrows along the way.
  4. The Girl and the Spider
    Few directors could get away with giving audiences so little context or plot, but the Zürchers succeed in piquing our curiosity, which is all one really needs to sustain a film.
  5. How to Survive a Pandemic
    Smart, humane and gripping even as it rakes over events all too fresh in our memories, How to Survive a Pandemic ends with plenty yet to be discussed and explored: It provides a road map to survival, but doesn’t suggest we’ve all made it just yet.
  6. Ambulance
    Ambulance is simply too much of a not-so-good thing. It never stops huffing and puffing to entertain you, but it’s joyless: a tale of escape that’s far from a great escape, because for all its motion it’s going through the motions.
  7. Olivia Rodrigo: driving home 2 u (a SOUR film)
    A decently baked slice of fan service that still seems like it might be arriving a little too soon.
  8. Slash/Back
    Innuksuk approaches everything with such a generous, supportive spirit, it seems churlish to focus on shortcomings in a film with so much personality. ... "Slash/Back" seems bound to find a cult following, but it will mean the most to Inuit audiences, for whom standing up to invaders is more than just another genre-movie cliché.
  9. Sheryl
    "Sheryl" tells these anecdotes, and others, in a swift and captivating fashion, with the director, Amy Scott, in engaging command.
  10. Windfall
    Blending the oddball sensibility of McDowell and regular co-writer Justin Lader with the nastier genre smarts of “Se7en” scribe Andrew Kevin Walker, this low-key Netflix holds to its intriguing promise for a crisp 90 minutes, though even its climax is muted by design.
  11. Soft & Quiet
    Soft & Quiet is deeply unpleasant to watch, but that’s the point.
  12. It Is In Us All
    If as a thriller, the cryptic It Is in Us All, doesn’t thrill quite enough, as an examination of the kind of perverse death-obsession that unloved, unhappy, estranged boys can develop, it is a darkly provocative and promising debut mood-piece from Campbell-Hughes.
  13. Bodies Bodies Bodies
    Bodies Bodies Bodies, with its restless camera movement and improv-style acting and general overdramatic rambunctiousness, is like “And Then There Were None” staged by John Cassavetes for the age of Instagram.
  14. Master of Light
    The light here emanates from Morton. His curiosity about art, about his place in the world after his incarceration, makes visible the darkness he’s experienced.
  15. Panama
    One thing leads to another, at a pace that somehow feels frenetic and ponderous all at once.
  16. Umma
    Oh aces her leading role with customary aplomb, and Stewart makes for a game scene partner, but Shim’s economical-to-a-fault screenplay rarely allows them enough downtime to fully flesh out their characters.
  17. Love After Love
    Love After Love goes through the motions of classic, rousing melodrama but not the emotions.
  18. Cheaper by the Dozen
    This new adaptation’s noteworthy commentary on poignant, timely issues is often eclipsed by predictability, superficial character development and inconsistent pacing.
  19. Deadstream
    What keeps the film from being anything more than an enterprising but minor diversion is that, with Shawn being is such a loud comic character from the get-go, scares and laughs alike don’t have much space to build. Winter gives his all, entertainingly so. But the performance is also dialed too high, too soon, its ultimate payoff diminished because we’ve already had so much of this protagonist screaming, bragging and sniveling.
  20. Deep Water
    This erotic thriller is still sexy and plenty entertaining, mind you, but it’s just not very useful insofar as what it says about real relationships.
  21. I Love My Dad
    [Morosini] holds back the personal stuff you can tell a stranger but not your dad — the kind of material good comedians build their shows around — making the result feel like a sitcom more than a brutally honest movie.
  22. Josep
    The strong subject matter as well as the eponymous subject’s storied life makes one wish for a longer running time than 72 minutes.
  23. Jane by Charlotte
    Gainsbourg doesn’t cram the film with all that much material, and spares her mom the embarrassment of showing her personal clutter. She essentially goes easy on Birkin, asking intimate questions but settling for shallow answers.
  24. X
    X is a wily and entertaining slow-motion ride of terror that earns its shocks, along with its singular quease factor, which relates to the fact that the demons here are ancient specimens of humanity who actually have a touch of…humanity.
  25. Apollo 10½: A Space Age Childhood
    Turns out, this movie isn’t so much about space as it is about time travel, or more specifically, taking Linklater and his followers back more than half a century.
  26. Gold
    As a lone drifter guarding a precious quarry in deadly desert conditions in a faintly futuristic nowhereland, [Efron's] good, as anyone’s who been paying attention should expect. Beyond that, it’s a somewhat arid exercise.
  27. After Love
    Spare and pared-back in all respects ranging from performance to its clean, airily-lensed aesthetic, After Love carries bulky baggage with an elegant lightness, leaving its audience with further unpacking to do.
  28. 32 Sounds
    Full to bursting with humor, emotion and curiosity, 32 Sounds is a uniquely mind-expanding plunge into a dimension of the human experience so many of us take for granted, a rare and rewarding sonic journey with the potential to enrich our lives.
  29. The Unbearable Weight of Massive Talent
    It’s a commercial comedy that has a delirious good time poking fun at Nicolas Cage, celebrating everything that makes him Nicolas Cage — and, in the end, actually becoming a Nicolas Cage movie, which turns out to be both a cheesy thing and a special thing.
  30. The Lost City
    Even at the movie’s masks-on SXSW Film Festival premiere, The Lost City was a breath of fresh air: the kind of breezy two-hour getaway that doesn’t take itself too seriously, delivering screwball banter between Bullock and Tatum — a guilty-pleasure treasure hunt that pretends to be more progressive than it really is by alternating between who’s saving whom.
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