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. Looking for a Lady with Fangs and a Moustache
    Aesthetically, too, Norbu’s film offers steady, muted levels of intoxication, giving constant pleasure while never quite tipping into flamboyance.
  2. Thunder Force
    In general le cinéma de Falcone is not a pretty (or hilarious) thing. Thunder Force is, at best, more a light chuckler than a laugher.
  3. Voyagers
    Voyagers is a dutiful thriller about the beast within, but there’s not a lot of surprise to it. Even when the characters let themselves go, the drama remains in lockdown.
  4. Jakob's Wife
    Despite Crampton and Fessenden’s game playing, and a few nicely icky practical effects, “Jakob’s Wife” feels strangely anemic, which, as we all know is more fatal to the already iron-deficient movie vampire than garlic, holy water and sunshine combined.
  5. Giants Being Lonely
    The film asks us to indulge and share the privacy of its characters. That’s its moody, free-floating allure.
  6. Hi, Mom
    Talented comedians Jia and Zhang, and a fine support cast carry out these shenanigans with an appealing energy that helps smooth things over when the screenplay occasionally stumbles into clunky plotting, super-corny dialogue and scenes that drag on for too long.
  7. Amundsen: The Greatest Expedition
    "Amundsen” is a visually stately yet naggingly underscripted movie that never quite finds its dramatic center.
  8. Nina Wu
    Nina Wu is a thrillingly complicated sort of corrective, living out the progressive ideal of giving the victim back her story, even when that story, told with lacerating self-criticism and a deep undercurrent of dismay, includes a great deal that falls far short of progressive ideals.
  9. Every Breath You Take
    The movie carries you along, and it’s got some high-tension moments, but there are one too many coincidental running-into-each-other-in-town close encounters.
  10. Roe v. Wade
    Ideologically scheming and visually inelegant, this is truly tacky stuff.
  11. The Unholy
    The Unholy is a good tight scary commercial theological horror film. Its spooks and demons unfurl within a pop version of Christianity, which makes it sound no more exotic than last week’s “Exorcist” knockoff or last year’s helping of the “Conjuring” franchise. But The Unholy has a religious plot that actually works for it.
  12. The Things We Say, the Things We Do
    For French and art-house audiences, there’s no denying the pleasure of a sapiosexual romance such as this, where the turn-on is to be found in the characters’ intelligence.
  13. This Is Not a Burial, It's a Resurrection
    A haunted, unsentimental paean to land and its physical containment of community and ancestry — all endangered by nominally progressive infrastructure — this arresting third feature from Lesotho-born writer-director Lemohang Jeremiah Mosese is as classical in theme as it is adventurous in presentation.
  14. Alien on Stage
    Amusing, but not outrageous, and while I’m glad Kummer’s camera was there to capture it, the movie doesn’t reveal enough about the performers’ backgrounds or personalities.
  15. Godzilla vs. Kong
    Godzilla vs. Kong is most satisfying when it’s at its most simple, which happens either in quiet bonding scenes between Jia and Kong, or else in those deafening moments when the monsters are duking it out.
  16. Violet
    There’s bravery in Bateman’s willingness to explore this state of mind, to put so much of herself on the table, but she rolls credits just as things were getting interesting: when Violet blocks out the voices and finally starts listening to herself.
  17. The Vault
    The Vault has all the external factors that heist movies require. Yet without quite being dull, somehow it misses the danger, esprit and camaraderie we need for such escapades to achieve liftoff.
  18. The Fever
    It is Myrupu’s beguiling performance what anchors this intimate and entrancing epic, a modern-day fable about the very concept of modernity and the promise of fabulation.
  19. The Seventh Day
    The movie is diverting enough when it flirts with clerical politics, and that made me think it might be cool to make an exorcist film that dramatized the true-life ins and outs of the Catholic Church’s relationship to exorcism. There’s a major story there, and it could fuel a heady thriller. But The Seventh Day, having established Father Peter as a new kind of exorcist renegade, soon gets down to business as usual.
  20. Six Minutes to Midnight
    Six Minutes to Midnight, helmed by Andy Goddard, wants to be a Hitchcockian thriller, but merely manages a familiar pastiche peopled with stock characters that should divert less-discriminating viewers.
  21. A Week Away
    If anything, the film’s cross-pollination with faith-based cinema is detrimental to its already minimal tension.
  22. Bad Trip
    The result is sniggering slapstick that’s two-parts biological fluids and one-part salute to the innate empathy of mankind, often in the same scene.
  23. Peter Rabbit 2: The Runaway
    This superior sequel serves as both a meta-commentary on his humbling past antics and a pivotal point for the eponymous protagonist. It’s an astute, entertaining, light-hearted mix of slapstick and self-reflexive humor commingling with enlightened, sharp sentiments about individualism and commercialism (the latter of which Potter herself wrestled with, and eventually pioneered).
  24. Body Brokers
    A self-described former junkie who experienced the dirty side of going clean firsthand, writer-director John Swab delivers an entertaining and eye-opening insider’s take on the treatment racket.
  25. Biggie: I Got a Story to Tell
    Fortunately, “I Got a Story to Tell” bears a life force that looms even larger than Wallace’s — that of his Jamaican-born “moms,” Voletta, who has so much star presence that even Angela Bassett couldn’t quite do justice to it when she played her in the 2009 movie.
  26. The Beta Test
    The movie, at its best, holds you in its grip.
  27. Underplayed
    Underplayed is too gentle a probe to risk targeting industry leaders or fandom for more than a moment here or there.
  28. Nobody
    Nobody is a thoroughly over-the-top and, at times, loony-tunes entry in the live-and-let-die vengeance-is-mine genre. Is it a good movie? Not exactly. But its 90 minutes fly by, and it’s a canny vehicle for Odenkirk, the unlikeliest star of a righteous macho bloodbath since Dustin Hoffman got his bear trap on in “Straw Dogs.”
  29. Accidental Luxuriance of the Translucent Watery Rebus
    While it’s true that the Croatian filmmaker’s experimental lulu employs such methods as rotoscoping and collage, it’s also vibrant and alive in a way that few films falling under the wide umbrella of animation even attempt to be. And though the audience for elliptical fare of this nature tends to be self-selecting, anyone willing to get on Barić’s wavelength will find the experience strangely rewarding.
  30. The Affair
    Despite a fine Continental cast and gleaming production values, Czech helmer Julius Ševčík has made a muddled, maudlin hash of what ought to have been a sure thing.
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