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. Borat Subsequent Moviefilm
    Borat has lost none of his bite, treading that same fine line between sophomoric humor and pointed political satire.
  2. White Noise
    White Noise is a deadly serious movie, but it is also, in a certain way, a funny one, because it captures the comedy of how much trouble even the influencers of hate now have squaring their lives with their belief systems
  3. The Witches
    Anne Hathaway’s performance provides the film with a sick-joke center of gravity, and Zemeckis, sticking to Dahl’s elemental storyline, stages it all with a prankish flair that leaves you buzzed.
  4. Fireball: Visitors from Darker Worlds
    “Fireball” is a documentary about meteorites, but what makes it a Herzog film is that it’s in love with meteorites.
  5. Pink Skies Ahead
    The catchy title’s a clever way of saying “It gets better,” and in the end, that feels as true for Winona as it does for the high-potential writer-director who created her.
  6. The Opening Act
    Becoming a successful stand-up comic is an uphill climb, one that not everybody is cut out for, and The Opening Act is a likable ode to those hard knocks.
  7. The Devil Has a Name
    What should have been a galvanizing David-versus-Goliath story pales in comparison with Amazon series “Goliath,” which is comparably colorful but far more coherent as it hits so many of the same beats.
  8. Shithouse
    This is a modest film, well-acted but rather clumsily assembled, that almost certainly would have benefited from an in-person SXSW, where it’s possible to bask in the shared laughter of an enthusiastic first screening.
  9. I'm Your Woman
    This is the kind of movie where the most dynamic thing in every scene is the art direction, followed by the natty retro costumes (which Jean must have used the cash to buy, since she didn’t have time to pack), and only then comes the people.
  10. The Kid Detective
    Both entertainingly old-fashioned and defiantly fresh.
  11. What the Constitution Means to Me
    Director Heller does a better job of adapting Schreck’s play than the team behind Disney Plus’ recent “Hamilton” film, in part because the underlying production is so much simpler.
  12. 2 Hearts
    It’s a softheaded piece of morbid romantic treacle — two parallel cloying love stories for the price of one.
  13. Love and Monsters
    In Love and Monsters, love is good, monsters are bad and feeling like Tom Cruise is “awesome.”
  14. A Babysitter's Guide to Monster Hunting
    A Babysitter’s Guide to Monster Hunting simply pushes forward insistently and efficiently in a spirit of organized, slushie-colored fun, which isn’t quite the same as a sense of humor, much less a sense of urgency.
  15. Rebecca
    For about three-quarters of the running time, Rebecca does a respectable job of navigating between respect for the source and establishing its own distinct identity. And then, at precisely the moment where it stands to make a few enlightened improvements . . . this Rolls-Royce of an adaptation veers off the road.
  16. Honest Thief
    It’s a serviceably energized and routine action crime movie, with a few slammin’ fistfights and gun battles, and it proves once again that Liam Neeson is an actor who will take a paycheck gig without treating it like one.
  17. French Exit
    Yes, French Exit blisters amid the rarefied air of Tom Wolfe or Whit Stillman, but it’s nicely cut with the schadenfreude of “Schitt’s Creek.”
  18. Bellingcat: Truth in a Post-Truth World
    It’s exciting, cloak-and-dagger stuff, no less exciting (or valid) for having been done from someone’s armchair at home. Pool pulls some cheap shots by cutting to Putin, Trump, and Kim Jong-un whenever he needs to personify who they’re up against. But in a world where those three are leading the charge to break the news, Bellingcat are doing their best to put it together again.
  19. Over the Moon
    Sometimes it’s OK for an adventure to be just an adventure, and this one gets in the way of its own assets, while pointing to the potential of future journeys from the Netflix animation team.
  20. The War with Grandpa
    The combat is neither funny nor intense. The War with Grandpa is like “Home Alone” replayed as a tit-for-tat battle of logistical booby traps that never rises above the innocuous slapstick benign.
  21. Meeting the Beatles in India
    There’s some fan value here, all spiritual quests aside, in seeing how accepting the individual Beatles could be of someone they could have taken as an interloper in their lofty midst. Maybe that’s the revelation, then: Sweet, the Beatles.
  22. Yellow Rose
    Like Andrew Ahn’s “Driveways” earlier this year, Yellow Rose is ultimately a film about kindness. The world can be cruel, but the film’s characters tend not to be. Group those movies with Sundance prize-winner “Minari,” and audiences have three terrific indies about growing up Asian in America — although this is the only one that sets the experience to music.
  23. Books of Blood
    With a certain kind of horror, a laugh’s as good as a scream, and Books of Blood delivers plenty of the former.
  24. Siempre, Luis
    Siempre, Luis winds up sidelining the bulk of Luis’ life to focus disproportionately on a recent achievement: his part, alongside that of his son, in bringing “Hamilton” to a Puerto Rican audience. The perky but lopsided result isn’t particularly revelatory on either front, and so relentlessly glowing that it’s hard not to feel some of Luis’ political expertise at play.
  25. The Lie
    The Lie is far from a total success, but it has enough tension and talent to make you hope that Blumhouse keeps aiming a quiet thriller or two at adults.
  26. Totally Under Control
    Subsequent docs will surely tell a different story, after survivors have risen up and confronted the individual they deem responsible — and Gibney et al. want this film to be instrumental in that solution.
  27. Hubie Halloween
    Director Steve Brill (another regular Sandler ally) keeps a lot of colorful balls in the air, even if the pacing is lumpier than you’d like in an enterprise this sketchy: Set pieces and one-off visual gags are simply stuffed in wherever they fit, like the cinematic equivalent of Hubie’s over-decorated Halloween front yard.
  28. The Wolf of Snow Hollow
    The movie does get some zingers in there, and it balances the humor with some nicely atmospheric creepy small town vibes (courtesy of DP Natalie Kingston), but the tone is all over the place and a far cry from the “Fargo”-y Coen brothers feel Cummings seems to be going for.
  29. Small Axe: Red, White and Blue
    Yet Red, White and Blue mostly lacks the gritty period flavor of the other Small Axe films. It’s a little glossed over. The (minor) daring of the movie is its downbeat narrative. It’s structured like the air seeping out of a tire, so that it presents us with a character of idealistic strength, commitment, and personal heroism only to plop him into a set of circumstances that won’t allow him to be a hero.
  30. Death of Me
    Bousman’s film pulls off some effectively nasty jolts and jabs: its feverish, whispery, eventually shrieking island-of-lost-souls claustrophobia may be rooted in cliché, but cliché takes root for a reason.
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