Variety's Scores

For 17,771 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 2.5 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:
17771 movie reviews
  1. Not merely a story of interspecies hierarchy, then, White God also puts forward a simple but elegant metaphor for racial and class oppression, as the outcast (or even outcaste) masses, sidelined in favor of the elite few, band together to assert their collective strength.
    • 79 Metascore
    • 100 Critic Score
    The Untouchables is a beautifully crafted portrait of Prohibition-era Chicago.
  2. Sans dialogue or translation, each interaction effectively becomes a puzzle to be solved, and Slaboshpytskiy is brilliant at using ambiguity to heighten rather than dull the viewer’s perceptions. Even when the meaning of a particular exchange eludes us, a greater sense of narrative comprehension begins to take hold.
  3. So involving is the raw content of The Look of Silence that some might view its formal elegance as mere luxury, yet the film reveals Oppenheimer to be a documentary stylist of evolving grace and sophistication.
  4. Boasting a narrative of extraordinary complexity and density, stuffed with irony, humor and tales-within-tales, the imaginative animated memoir Rocks in My Pockets merges a mini-history of 20th-century Latvia with that of helmer Signe Baumane and her forebears.
  5. An act of cinephilic homage that transcends pastiche to become its own uniquely sensuous cinematic object, Strickland’s densely layered, slyly funny portrayal of the sadomasochistic affair between two lesbian entomologists tips its hats to such masters of costumed erotica as Jess Franco, Tinto Brass and Jean Rollin, without ever cheapening its strange but affecting love story.
  6. The film is a master class in comic timing, employing pacing and repetition with the skill of a practiced concert pianist.
  7. Adapting the cold language of data encryption to recount a dramatic saga of abuse of power and justified paranoia, Poitras brilliantly demonstrates that information is a weapon that cuts both ways.
  8. Working about as far as possible from the commercial mainstream of the movie business, Costa has again made a singular docu-fiction hybrid that defies classification as readily as it reimagines the possibilities of cinema for the post-spectacle, post-theatrical era.
  9. The love child of Bollywood and Hollywood, Gangs of Wasseypur is a brilliant collage of genres, by turns pulverizing and poetic in its depiction of violence.
  10. A film of quiet but profound outrage, laughing on the surface, but howling in anger just beneath.
  11. It’s the most important and galvanizing political drama by an American filmmaker in years.
  12. The opening of Sicario unfolds at such an anxiety-inducing pitch that it seems impossible for Villeneuve to sustain it, let alone build on it, but somehow he manages to do just that. He’s a master of the kind of creeping tension that coils around the audience like a snake suffocating its prey.
  13. A magnificent tapestry of sounds and images, this documentary interweaves multiple leitmotifs that flow through the film like familiar old friends, surging to the forefront only to be reabsorbed and casually encountered farther on.
  14. There’s no denying that Hooper and screenwriter Lucinda Coxon have delivered a cinematic landmark, one whose classical style all but disguises how controversial its subject matter still remains.
  15. Managing to be both extremely rational and extremely humane, the film works so well thanks to an intelligent, superbly understated script and a feel for naturalism that extends beyond mere performance.
  16. Paolo Sorrentino, with Youth, delivers his most tender film to date, an emotionally rich contemplation of life’s wisdom gained, lost and remembered — with cynicism harping from the sidelines, but as a wearied chord rather than a major motif.
  17. La La Land isn’t a masterpiece (and on some level it wants to be). Yet it’s an exciting ramble of a movie, ardent and full of feeling, passionate but also exquisitely — at times overly — controlled.
  18. A wickedly funny protest against societal preference for nuclear coupledom that escalates, by its own sly logic, into a love story of profound tenderness and originality.
  19. A mesmerizing slow burn of a martial-arts movie that boldly merges stasis and kinesis, turns momentum into abstraction, and achieves breathtaking new heights of compositional elegance: Shot for shot, it’s perhaps the most ravishingly beautiful film Hou has ever made, and certainly one of his most deeply transporting.
  20. French actress-turned-helmer Maiwenn is concerned first and foremost with her characters, who rank among the most vividly realized of any to have graced the screen in recent memory.
  21. Those willing to enter The Club will discover an original and brilliantly acted chamber drama in which Larrain’s fiercely political voice comes through as loud and clear as ever.
  22. The pic is a superbly crafted collage whose soundtrack is as complexly textured as the curation and editing of visual elements.
  23. Linklater indulges his characters’ antics with such wild, free-flowing affection that you might miss the thoughtful undertow of this delightful movie: Few filmmakers have so fully embraced the bittersweet joy of living in the moment — one that’s all the more glorious because it fades so soon.
  24. Anomalisa’s existence is a minor miracle on multiple levels, from the Kickstarter campaign that funded it (the credits give “special thanks” to 1,070 names) to the oh-so-delicate way the film creeps up on you, transitioning from a low-key dark night of the soul into something warm, human and surprisingly tender.
  25. A War doesn’t seek to break new ground in the ongoing cinematic investigation of the Afghanistan conflict; rather, it scrutinizes the ground on which it stands with consummate sensitivity and detail.
  26. This is what audiences want from a Nolan movie, of course, as a master of the fantastic leaves his mark on historical events for the first time.
  27. Joseph Dorman and Oren Rudavsky’s excellent history of the changing faces of the ideology that built the State of Israel offers a careful antidote to the shrill entrenchment that attends the very mention of Zionism.
  28. As with Reichardt’s more streamlined miniatures, regional detail accounts for much of the film’s lingering resonance, as her characters are molded by (and, in some cases, rail against) the landscape they inhabit.
  29. Part dreamy millennial picaresque, part distorted tapestry of Americana and part exquisitely illustrated iTunes musical, “Honey” daringly commits only to the loosest of narratives across its luxurious 162-minute running time. Yet it’s constantly, engrossingly active, spinning and sparking and exploding in cycles like a Fourth of July Catherine wheel.

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