Variety's Scores

For 17,779 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:
17779 movie reviews
  1. In Uppercase Print, the fangs of the past are sharp, but muzzled.
  2. Beans is a thoughtful, stirring reflection by someone who survived it all, quietly demanding acknowledgement not just of her land, but of her life.
  3. Clifford the Big Red Dog becomes a rowdy chase film — as agreeable as Clifford himself, as simultaneously cute and in-your-face, and as genially random in its ability to create chaos.
  4. With its prevailing sentiments on dating in the digital age feeling more than a decade old, and themes centered on honesty and shallowness ringing hollow, this feature is fairly forgettable.
  5. Wandel’s immersive, impressive debut is rigorous in its resolute focus on one little girl fighting a lonely, frightened battle for her future selfhood, in which what hangs in the balance is nothing less than the shape and measure of her developing soul.
  6. The tension provided by dank claustrophobia and threat of suffocation, as air supplies dwindle, makes this house a very scary place to be.
  7. Dangerous is a bits-and-pieces action thriller with a fluky premise and a lead actor good enough to embody it. Made in the slipshod, overlit style of a straight-to-streaming potboiler, it’s not a rip-off so much as a film built out of spare parts from other movies, to the point that it never fully becomes itself.
  8. A middling horror-thriller and social satire that opens with an intriguing premise but never probes its cashed-up characters deeply enough to create gripping drama from the heightened hedonism or existential crises they experience after acquiring new powers.
  9. Rather than taking a detached anthropological tour of the community, Bolognesi lets the Yanomami present themselves in their own words and on their own terms, thus enlivening everything from their mealtimes to their mythology.
  10. A fun, fast-paced and frequently amusing divertissement.
  11. The dark-side-of-the-L.A.-club-scene premise has potential, but the movie turns out to be a cut-and-paste thriller without any night-world bloom to it.
  12. Becoming Cousteau, Liz Garbus’s ardent and transporting documentary, is one of those movies that puts a life together so beautifully that you feel it heightening your awareness of everyday things.
  13. It’s a performance film, a delectable slice of nostalgia, and a testament to how one gorgeously raucous rock ‘n’ roll moment can reverberate through the decades.
  14. While its succession of emotionally loaded moments never crystallize into a vivid whole, the strong performances and highly effective use of music should put audiences in a forgiving mood.
  15. [A] generations-spanning yet emotionally and visually flat familial movie.
  16. Despite the bleak backdrop, Finch manages to stay true to the fuzzy ring of its basic idea, delivering a family-friendly movie that is big-hearted, comfortingly traditional and bolstered by a genuine love of dogs.
  17. A rather pedestrian presentation of a potentially fascinating story, Vanessa Lapa’s Speer Goes to Hollywood expands on a little-known footnote to the Hydra-headed history of the post-war fates of top Nazi lieutenants.
  18. [A] neatly observed, rueful Israeli dramedy.
  19. On some level, every “Paranormal Activity” film is about monsters caught on camera, but in this one the demons remain scariest when they’re sight unseen
  20. Roh
    Emir Ezwan’s directorial debut is a spare, eerie tale rooted in folk superstitions that are rendered credibly vivid by its thick yet subtle atmospherics.
  21. Ultimately, Moll’s film is a cautionary tale for the lonely among us, a reminder that one step away from idealizing romance lies the risk of becoming a fool for love, which just might get you killed.
  22. Army of Thieves is one of those bombastically blithe and fanciful Netflix action movies, in this case with a romantic heart.
  23. Zhao’s sensibility, to a degree, is there — in the casual humanity of the characters, in the flow of quip and conflict and passion (at times romantic), in the beauty of the effects, in the deceptively effortless way that Zhao scales up her logistical skills. She’s a master craftswoman, and Eternals, while too long (157 minutes? really?), is a squarely fun and gratifying watch.
  24. This is sci-fi cinema of a relatively subtle, intriguing stripe, without the usual emphasis on fantastical or action imagery. Still, it’s slickly engaging enough to please more open-minded genre fans, and brainy enough to attract those who want something other than another laser shoot ’em up.
  25. The jokes write themselves, though in The Phantom of the Open, screenwriter Simon Farnaby and director Craig Roberts make them sweeter and spryer than they could have been, while a wide-eyed, bucket-hatted Mark Rylance plays Flitcroft with abundant generosity of spirit.
  26. The imagery of destruction and assault is powerful on its own terms; it’s in building the story of the participants’ motives and actions that Four Hours at the Capitol falters, making what could have been a definitive document into a deeply flawed one.
  27. "Gensan” lands solid punches for the rights of disabled athletes and excels with its depiction of rigorous training and fierce combat. But we learn very little about the fighter’s life when he’s not wearing gloves.
  28. Whether wholly performed or partially authentic, The Tsugua Diaries wittily evokes the volatile mood swings of lockdown — how concentrated time with the same people can yield either irritation or intensified closeness from day to day, particularly in a sticky-hot summer haze.
  29. Instead of persuasive verisimilitude and compelling character development, we get scene after scene of Jesse waiting for something, anything.
  30. Expect no surprises in Falling for Figaro, a corny, cute-enough carpe diem comedy, in which it’s a lovable ensemble — led by Danielle Macdonald, and spiked by a deliciously imperious Joanna Lumley — that brings the grace notes to a pretty standard-issue script.

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