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. La Civil
    This is a gripping and heartbreaking film that goes out with a whimper that hits harder than any kind of bang it could’ve mustered.
  2. Habit
    It’s an embarrassing vanity showcase that’s deliberately campy without actually being fun, and whose stalled-adolescent “transgression” may only appeal to a few actual adolescents.
  3. The Seer and the Unseen
    Without trivializing the matters at hand, The Seer and the Unseen tempers complex national interests with droll human ones.
  4. The Protégé
    There’s precious little in The Protégé that audiences haven’t seen before in some form or another, but that’s hardly a liability, since the script recombines those familiar elements in such entertaining ways, counting on Q, Jackson and Keaton to make these stock characters come alive.
  5. Last Man Standing: Suge Knight and the Murders of Biggie & Tupac
    In Last Man Standing, Broomfield comes close to answering the questions — of guilt and recrimination — that have hung over these murders for too long.
  6. Sweet Girl
    Aided by Steven Price’s enthusiastic score, Mendoza’s vigorous direction keeps things speeding along, and Momoa is such a charismatic presence — whether sensitively interacting with Rachel (skillfully embodied by Merced) or inventively snapping an adversary’s neck — that the proceedings’ lack of realism works to its advantage.
  7. The Meaning of Hitler
    We go into The Meaning of Hitler craving that millimeter of insight, of intrigue and revelation. And the film provides it. It ruminates on Hitler and the Third Reich in ways that churn up your platitudes.
  8. Zeros and Ones
    What Zeros and Ones does do — deliberately, calculatedly, in the kind of messy intuitive manner that’s been the director’s signature of late — is reproduce the general state of unease and insecurity that’s plagued most of us during lockdown.
  9. Reminiscence
    Reminiscence plays like a perfectly calibrated two-hour mirage of things we’ve seen before.
  10. Demonic
    At one point, a character in a coma is referred to as having Locked-In Syndrome, which means that she’s still aware of her surroundings but is totally unable to move. By the end of Demonic, you’ll know just how she feels.
  11. The Kissing Booth 3
    There’s plenty of fan service (including a whole new list for Elle and Lee to exhaust), but also a late-arriving sense of identity that gives this junk-food sequel just enough nutritional value to help its young audiences reconsider how to determine their own post-high school priorities.
  12. Bernstein's Wall
    What the documentary captures, profoundly, is that Leonard Bernstein was a fierce hedonist who worked hard to live the life he wanted.
  13. Ida Red
    What holds Ida Red together and gives it solidity is the relationships between Wyatt, Jeanie and Darla, which might not be entirely original but they don’t need to be thanks to good ensemble performances, with Hartnett very much at ease and Hublitz making an impression in her biggest role to date.
  14. Not Going Quietly
    Along with his editor Kent Bassett, Bruckman weaves these events together rather conventionally yet thoughtfully, making plenty of room for Barkan’s home life and appealingly chipper character that he somehow manages to maintain through all his battles.
  15. Crime Story
    Worse things have happened to Oscar winners, but it’s still unfortunate to see both Richard Dreyfuss and Mira Sorvino flailing in the inept muddle of Crime Story.
  16. The Lost Leonardo
    The Lost Leonardo is the first art-world documentary I’ve seen that captures what art becomes once it goes through the looking glass of greed: not just a commodity, but a way of transferring and manipulating power. It’s enough to make the Mona Lisa stop smiling.
  17. Days
    I confess my incapacity for his particular strain of slow cinema for two reasons: First, to let audiences know that it’s OK to be frustrated by the experience — you’re not alone. And second, so you might appreciate what it means that Days worked on me. Instead of leaning in, as I’m wont to do with challenging movies, I settled back into my chair and let the rhythm wash over me, lull me into its relaxing embrace.
  18. Don't Breathe 2
    In the case of Don’t Breathe 2, one reason the movie, for all the operatic (and often absurd) grisliness of its second half, isn’t quite as good as the original is that the original didn’t have a trace of that franchise self-consciousness.
  19. The River
    The River, concludes a trilogy consisting of “The Mountain” and “The Valley,” and while it’s his most objectively beautiful feature yet, it also gives nothing away, demanding a heightened engagement with both his artful mise-en-scène and his nation’s psychological state.
  20. The Last Matinee
    The Last Matinee is less effective as a straight horror film than it is as a self-conscious genre homage, providing excitement more of the eye-candy design than the visceral ilk. Still, it’s adequately diverting fare for those who’ll grok its somewhat insular appeal.
  21. Petite Solange
    Ropert’s understanding of how children furtively watch the adults around them, soaking up the friction, is well-observed and the best thing in this otherwise insipid film that perversely discards any shred of naturalism for an outdated and phony ingenuousness. Even the performances are airless, and consequently there’s no emotional investment in a family whose rapport is so clunkily established.
  22. Escape from Mogadishu
    Ryoo ramps things up impressively once all hope of protection from local forces evaporates. Audiences are treated to half an hour of top-class car chases and shootouts as the group attempt to make it safely across town and onto a rescue flight.
  23. Materna
    The film is formally beautiful almost to a fault, giving it a schematic quality that’s at odds with its roiling emotions.
  24. Rose
    Though the storied actress’ personality offers moments of charm and occasional depth, a weak, cliché-riddled script reduces almost everyone to a maximum of two characteristics.
  25. Hinterland
    As impressive as Homefront is in the way it envisions a distorted world, its fully-realized digital design is all exterior display, whereas Expressionism at its best transforms disturbed psychological states into a nightmarish reality.
  26. Respect
    Though Respect can feel a little soft in the drama department, it delivers the added pleasure of hearing Hudson re-create Franklin’s key songs, from the early jazz standards she covered for Columbia to her reinvention of the Otis Redding single that lends the film its name.
  27. PAW Patrol: The Movie
    Any crass consumerism is eclipsed by disarming, demonstrable themes and meaningful sentiments woven throughout the film’s textured fabric.
  28. Whirlybird
    The doc is a fascinating insight into how individual choices can shape the news.
  29. Free Guy
    Free Guy is a lot of fun, despite the fact that Levy and the screenwriters seem to be changing the rules as they go.
  30. Beckett
    It’s intriguing to see Filomarino experiment with the formula and exciting to imagine where his career might go from here.
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