Variety's Scores

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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:
  1. Positive: 9,134 out of 17779
  2. Mixed: 7,009 out of 17779
  3. Negative: 1,636 out of 17779
17779 movie reviews
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  1. Happening
    Happening is filmed and performed in such a delicate, skin-soft register, meanwhile, that the escalating terror of Anne’s situation is all the more pronounced, eventually pivoting into a realm of wholly realism-based body horror.
  2. 7 Prisoners
    7 Prisoners’ unfolds satisfyingly, precisely by not offering us complete satisfaction or certainty. The question hovers of whether Mateus can ever escape his prison altogether, or merely into one with more comfortable furniture.
  3. Blood Brothers: Malcolm X & Muhammad Ali
    The movie does a compelling job laying out how vulnerable this relationship was, given their faith, given Ali’s ascendency in the nation and the Nation.
  4. Dating & New York
    While following a typical rom-com pattern isn’t inherently unpleasant, the movie’s wink-wink insinuations that it’s going to take things in a novel direction, followed by its embrace of the very clichés it’s poked fun at, makes it feel disingenuous and stale.
  5. The Alpinist
    The images here are often dizzying and dazzling.
  6. The Last Duel
    Despite a brief action interlude here or there, The Last Duel turns out to be a lavishly convoluted and, at times, rather interesting medieval soap opera.
  7. The Guilty
    Gyllenhaal’s impressive, but The Guilty almost certainly would have been more effective if he’d dialed down the intensity a bit.
  8. Malignant
    It’s hard to say whether a film this bonkers “works” or not, but it’s impossible not to admire both the craft and the extravagant bad taste behind its go-for-broke energy.
  9. Dear Evan Hansen
    Dever is the best thing about this adaptation, which feels slightly less creepy in the lied-about-knowing-your-brother-to-worm-my-way-into-your-heart department, if only because Dever’s so good at balancing Zoe’s strength and vulnerability that the situation doesn’t read as a nearly 30-year-old creep manipulating a minor.
  10. Dogs
    Although the director cut his teeth working in commercials and on more comedic material, he has no trouble orchestrating the breath-catching suspense of Dogs, depicting violent confrontations with a certain chilling detachment, then reveling in the gruesome result.
  11. Memory House
    Memory House is, above all, a fable about identities lost and cultural artifacts in need of recovery that doubles as a thrilling and foreboding ride designed to rattle audiences at home and abroad with equal verve.
  12. The Voyeurs
    Writer-director Michael Mohan’s film plays like rehashed leftovers cooked up for young viewers who’ve never seen any of its superior inspirations.
  13. Halloween Kills
    Halloween night may be Michael Myers’ masterpiece, but Halloween Kills is no masterpiece. It’s a mess — a slasher movie that‘s almost never scary, slathered with “topical” pablum and with too many parallel plot strands that don’t go anywhere.
  14. Queenpins
    Gaudet and Pullapilly argue, cheekily and convincingly, that the real crooks are the unseen conglomerates who’ve created a society that devalues products and their consumers.
  15. Fauci
    It’s a documentary that merits a place in classrooms as well as theaters, as a preventative against the virus of cynicism.
  16. Sundown
    Yes, Sundown is a mystery, but it’s also a Rorschach test. No two people will see the film the same way.
  17. The Rescue
    A stunning documentary of bone-deep moral resonance and cinematic mastery that deserves to be experienced on the big screen.
  18. Marcel the Shell with Shoes On
    Don’t miss this strange, special little film.
  19. The Lost Daughter
    Through it all, Gyllenhaal assumes an unfussy, practically invisible non-style that conveys the essential (like that missing doll, visible in the background of a key scene) while privileging the performances.
  20. Cyrano
    With its swooping cameras and beyond-dazzling production design, Wright’s style is more alive than ever, giving new meaning to the word “panache.”
  21. Becoming Led Zeppelin
    Becoming Led Zeppelin is full of essential stuff, but on some level it feels like a Led Zeppelin infomercial.
  22. King Richard
    The beauty of Zach Baylin’s script is that while the arc is familiar, hardly a single detail could be described as clichéd, seeing as how the specifics are virtually unprecedented.
  23. Unclenching the Fists
    A frenzied vocal tone and wild, untethered physicality connects all the performances, with every character seemingly eager to burst out of their own body, and by extension, the life in which it’s stranded.
  24. Boiling Point
    There’s a barreling momentum to the filmmaking that feels true to the cut and thrust of restaurant life, regardless of the script’s digressions.
  25. The Gateway
    The Gateway moves quickly enough to hold attention, if not to cover up its ill-matched individual elements, let alone meld them into a coherent vision.
  26. Best Sellers
    Its portrait of an easy-target industry goes soft just when it needs a little added spine, while the film’s abrupt tonal transitions from jaunty comedy to cross-generational weepie occasionally come at the expense of the characters’ own credibility. But it’s the overarching niceness of “Best Sellers” that sees it through.
  27. Kate
    Winstead makes you believe, however improbably, that if a woman like Kate actually existed outside a screenwriter’s imagination, she wouldn’t be far off from this portrayal: isolated, mule-headed and ready for a change.
  28. Last Night in Soho
    Wright’s particular affections for B-movies, British Invasion pop and a fast-fading pocket of urban London may be written all over the film, but they aren’t compellingly written into it, ultimately swamping the thin supernatural sleuth story at its heart.
  29. Julia
    Julia offers us glimpses of a complex, brittle personality beneath the robust persona, but is either too cautious or too genuinely besotted with the latter to pry it out.
  30. Spencer
    Spencer is an intimate speculative drama that stays as close as it can to everything we know about Diana. At the same time, the movie is infused with a poetic extravagance.
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