Variety's Scores

For 17,825 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 2.3 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:
17825 movie reviews
  1. This is a farce of stasis, not frenzied activity. By holding his characters literally captive — as the village is held, absurdly but violently, under siege — Kolirin forges an actual microcosm through which to examine the social and political status of Israel’s Arab community.
  2. Watching this steadfast person survive in such close quarters with those most unaccepting of his situation offers remarkable insight into issues of gender expression and acceptance, which might well translate to the social strictures back home.
    • 77 Metascore
    • 80 Critic Score
    Superbly catching the warmth and feeling of Jan Struther’s characters in her best-selling book of sketches, “Mrs. Miniver,” Metro has created out of it a poignant story of the joys and sorrows, the humor and pathos of middle-class family life in wartime England.
  3. In theory, the British director’s fifth feature — premiered in Directors’ Fortnight at Cannes — is a film of big, bubbling emotions and anti-capitalist rage. In execution, it’s a choppy outline of five working-class lives in the U.K. cobbled together by gloopy sentimentality.
  4. Szifron does a terrific job of pacing thanks to expert editing (he shares credit with Pablo Barbieri) within each episode and a genuinely subversive sense of humor.
  5. All of this makes for compelling dramatic conflict, and it’s satisfying to watch an impostor shake up the status quo. But there’s also a soap opera-like dimension to Corpus Christi that threatens the more thoughtful aspects of the script.
  6. Laced with colorful stories. ... The movie is mostly content to be a portrait of Ronstadt the artist, and it’s more than satisfying on that front.
  7. In doing justice to the stories of thousands, Rathjen has somewhat undersold the personal story of its single protagonist.
  8. Green is a storyteller with such control that we don’t leave the theater feeling patronized or hectored. She’s thought everything out, and planned it so that every scene in The Royal Hotel is as gripping as it is pointed.
    • 77 Metascore
    • 90 Critic Score
    Kramer vs. Kramer is a perceptive, touching, intelligent film about one of the raw sores of contemporary America, the dissolution of the family unit.
  9. There’s room for infinite points of view behind the camera, as well as among those who do the watching. Offering the tools for unpacking potentially challenging movies, Cousins teaches people how to be better spectators — not by telling them the right way to watch, but by encouraging them to engage more deeply with what they see.
  10. Both fascinating as a glimpse at the not so distant past, and provocative as an account of what arguably was an early step in the decline of political discourse on television.
  11. It’s to the credit of Borbély’s intelligent, melancholically understated performance that Maria remains sympathetic even as she becomes more of a condition than a character — and to the richness of the writer-director’s ideas that they move and intrigue even when they’re most artificially expounded.
  12. Giving not an inch to any sort of readable moral paradigm, this third installment in Potrykus’ Grand Rapids-set animal trilogy (including his 2010 short “Coyote” and his 2012 feature “Ape”) proves as fascinating as it is off-putting.
    • 77 Metascore
    • 80 Critic Score
    Although the script has more than its share of short circuits, director John Badham solders the pieces into a terrifically exciting story charged by an irresistible idea: an extra-smart kid can get the world into a whole lot of trouble that it also takes the same extra-smart kid to rescue it from.
    • 77 Metascore
    • 80 Critic Score
    Just as wacky and imaginative as their earlier film outings. (Review of Original Release)
  13. It’s an elegantly oblique movie, even for Kiarostami, whose art thrums with quiet ethereal metaphor.
  14. Julian Higgins’ first feature can be taken as a drama with thriller elements or a low-key thriller with atypical dramatic nuance, working either way as a quietly effective balance between genre, social issue and character study elements.
  15. Triad oozes a confidence that carries the viewer almost without pause to its shocking climax and ironic close.
  16. Gazing upon great art often clears our minds, sharpens our thinking and invites new ideas in; in Apolonia, Apolonia, tracing the long-term push-pull of someone else’s artistic process appears to do the same for the woman behind the camera.
  17. Whether the love it features on screen is simple or complex, and whether it’s romantic, platonic or maternal, the film lands on tremendously moving moments that stir the soul by scrutinizing the dueling cruelty and tenderness found within its characters.
    • 77 Metascore
    • 70 Critic Score
    The Three Musketeers take very well to Richard Lester’s provocative version that does not send it up but does add comedy to this adventure tale [by Alexandre Dumas].
  18. This reunion between Kristen Stewart and the director who gave her one of her best-ever roles in 2014’s “Clouds of Sils Maria” is a broken, but never boring mix of spine-tingling horror story, dreary workplace drama and elliptical identity search, likely to go down as one of the most divisive films of Stewart’s career.
    • 77 Metascore
    • 90 Critic Score
    Poignant, thoughtful and utterly absorbing, Susanne Bier's Dogme film Open Hearts is a gem.
  19. The rough power, as well as the humor and sensitivity, of pop phenom Eminem is delivered intact in 8 Mile.
  20. Beautifully evokes the enduring appeal of English singer-songwriter Nick Drake.
  21. Pic deserves nurturing, because it’s one of the best to emerge from New Zealand in quite a while. Tamahori, working from Riwia Brown’s intelligent script, has done a marvelous job in depicting the day-to-day horror of the Heke family, which is held together only by its women, the sorely tried Beth and her eldest daughter, 16-year-old Grace.
  22. Petra Seeger's beautifully crafted documentary about neurobiologist Eric Kandel, In Search of Memory, interweaves experience and experiments, autobiography and science as seamlessly as the Nobel Prize winner's same-titled book.
  23. What the picture most needed was a complete cinematic rethink and, yes, even some action to move it along.
  24. Ailey, directed by Jamila Wignot, doesn’t always answer the questions you expect it to. It can be a tantalizing watch, but it’s a poetic and meditative documentary that often skimps on the nuts and bolts.

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