Variety's Scores

For 17,786 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:
17786 movie reviews
  1. The filmmaking is muscular and immersive, with athletic camerawork and ringing sound design keeping us in the stressed headspace of its young protagonist throughout.
  2. If necessity is the mother of invention, then DreamWorks’ desire to extend the Dragon franchise has propelled the creative team in the most admirable of directions, resulting in what just may be the mother of all animated sequels.
  3. Mike Leigh has made one of his most modest pictures, although one that offers quite a few laughs and other quirky pleasures.
  4. A magnificent tapestry of sounds and images, this documentary interweaves multiple leitmotifs that flow through the film like familiar old friends, surging to the forefront only to be reabsorbed and casually encountered farther on.
  5. What keeps Dheepan engaging throughout is the tremendous charisma of the performers.
  6. As someone who’s absorbed bits and pieces of the Miles Davis story over the years but never felt like I had the big picture, I found “Birth of the Cool” to be intensely gratifying. Nelson is a filmmaker with a sixth sense for how to nudge history into the present.
  7. Every bit as loud and ambitious as one might expect from a visual artist with such a hyperactive imagination, sci-fi action-adventure Promare checks all the conventional anime boxes — post-apocalyptic setting, mecha suits and plenty of fan service — but it’s still an exciting watch.
  8. Somehow, in accentuating Wiseau’s weirdness, Franco overlooks his soul.
  9. Rarely has anyone embodied contradictions as happily and harmoniously as octogenarian New York Times photographer Bill Cunningham.
  10. The virtual future may be now, but “Lo and Behold,” with its stimulating volley of insights and ideas, always feels persistently, defiantly human.
  11. Brillante Mendoza’s latest opus that revels in shock value.
    • 76 Metascore
    • 80 Critic Score
    A Nightmare on Elm Street is a highly imaginative horror film that provides the requisite shocks to keep fans of the genre happy.
  12. The terrific DIG! offers a unique chance to watch two classic rock band scenarios unfold simultaneously.
  13. With far-right nationalist ideologies suddenly a matter of pressing interest to almost everyone, the timing is regrettably ideal for Keep Quiet. This fascinating documentary by co-directors Joseph Martin and Sam Blair finds a stranger-than-fiction hook for probing that disturbing global trend.
  14. Bursting with unruly energy that practically escapes the confines of the screen, Kneecap is a riotous, drug-laced triumph in the name of freedom that bridges political substance and crowd-pleasing entertainment.
  15. Even the less immediately engaging material here helps build an uncannily cohesive snapshot of a very specific time and place, and the past decades have only given it a bittersweet edge.
  16. Riedelsheimer is well-matched to Goldsworthy’s methods and interests.
  17. A restless, rangy and frankly enjoyable genre-juggler that combines melodrama, comedy and more noir-hued darkness than ever before, the picture is held together by the extraordinary force of Almodovar’s cinematic personality.
  18. A visually exalting, emotionally horrifying view of Afghanistan under the Taliban regime.
    • 76 Metascore
    • 90 Critic Score
    As always, director Stephen Frears does a superb job of work when given a good script, and this is a very good script. It’s peopled with interesting characters, allowing for a gallery of fine performances and situations.
  19. The tender screenplay by Boris Frumin captures characters living in the new world in much the same fashion as they did in the old. It also offers a touching showcase for Levan Tediashvili, a non-professional actor and real-life wrestler.
  20. Father Mother Sister Brother is consistently beautiful. It is not easy to create visual variety and interest in scenes in which by design the most important thing that is happening is that nothing is apparently happening.
  21. Precision-honed performances and a nonsensationalistic approach distinguish this impressive first feature from French helmer Alexandre Moors, which avoids pat explanations as it offers a speculative glimpse into murderous minds.
  22. Though at its core the film is about a dying way of life, the location and photography here are so beguiling that they semi-perversely encourage just the kind of foreign tourism that factors into that slow death.
  23. There’s solemn respect here for the fragile interior peace of others: This restrained, humane film seems most interested in how that serenity is reflected back into the world.
  24. Miller is greatly helped by all her major collaborators here.
  25. Character-driven to a fault, Heavy proceeds in such leisurely fashion that there are times one wishes it would shed a few minutes in order to get on with its business.
    • 76 Metascore
    • 90 Critic Score
    The Sure Thing is at heart a sweetly old-fashioned look at the last lap of the coming-of-age ordeal in which the sure thing becomes less important than the real thing. Realization may not be earth shattering, but in an era of fast food and faster sex, return to the traditional is downright refreshing.
  26. A rather ordinary account of youthful summer misadventures that goes down easily thanks to a sparky cast, more than 40 pop tunes that anchor the action in the late '80s and characters who get high both on and off their jobs at a tacky amusement park.
  27. Deftly balancing restrained sentimentalism with tough-minded human tragedy, this impressive, unashamedly classical feature debut by TV helmer James Kent has the populist heft one expects from producer David Heyman, while preserving the solemn intimacy of Brittain’s account of lives and loves severed by the conflict.

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