Variety's Scores

For 17,760 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:
17760 movie reviews
  1. It’s clearly made by a master filmmaker questioning the nature of repentance, and as such is far from superficial; and yet while it never loses our attention, it also doesn’t deliver much of a punch.
  2. Vacuous, almost spitefully monotonous ... A dismaying creative dead end from an abundantly gifted filmmaker, the new film escalates its predecessor’s cheeky protest to a form of acute auteur trolling.
  3. Isabelle is curiously old-fashioned and not at all original enough to distinguish itself in American release.
  4. It feels at once younger and older, sweeter and more seasoned, than Dolan’s last few films.... [It's] not out to scout new stylistic territory, but confident in the turf it covers, often gorgeously so.
  5. There are a few surprises in Frankie, and the movie, in its placid way, wants to deliver a tug of revelation of what life is about. The trouble is, life at the end of this day doesn’t look very much different than it did at the start of the day.
  6. Joy
    If all the performances here feel lived-in, it’s because they’re literally just that — but even within that context, Alphonsus is an electric find, silently signaling Joy’s clashing moral impulses with a complexity that would defeat many a professional.
  7. Bong is back and on brilliant form, but he is unmistakably, roaringly furious, and it registers because the target is so deserving, so enormous, so 2019: Parasite is a tick fat with the bitter blood of class rage.
  8. If it’s an optimistic beginning you’re after, Running With Beto makes for a fine start. Speaking as a former Texan, I’m so f—ing proud of how far the state has come.
  9. It’s unusual for a typical Illumination broad comedy to include a heartrending message that makes parents feel less alone in their very real, visceral struggles. It’s just cloaked in a shenanigans-soaked romp about what pets do when humans aren’t looking.
  10. It’s an entertaining flashback to an always-diverting countercultural epoch, with a touching footnote of a semi-famous love story at its center.
  11. When it reverts to conventional documentary storytelling, then, “Halston” is thrilling stuff for fashion nerds, as well as a poignant character study of a misfit ultimately undone by an excessive hunger to prove himself.
  12. Echo in the Canyon offers a richly evocative and star-studded overview of the 1960s Laurel Canyon music scene.
  13. It’s great to see Smith in comedic mode again, and smart of the team to base the Genie’s personality on the star’s brand, rather than imitating what Williams did with the role. Even in cases where Smith is quoting directly from the original, his persona comes through loud and clear as this blue-hued, CG-enhanced master of ceremonies.
  14. A watchable but super-silly mix of superheroics and evil-child horror that mashes together singularly uninspired ideas from both.
  15. DiCaprio and Pitt fill out their roles with such rawhide movie-star conviction that we’re happy to settle back and watch Tarantino unfurl this tale in any direction he wants.
  16. As a low-key romp with a twisty, globetrotting plot The Whistlers is an enjoyable affair with just enough of a slant to feel a little offbeat. But Porumboiu aficionados chasing the same weird high he has delivered time and again before — wherein a single moment can transform a ridiculous scheme into a fairy tale, or a silly notion into a grand philosophical quest — are just going to have to whistle for it.
  17. Instantly recognizable as a Dardenne film, Young Ahmed has that same deceptively “rough” quality as the directors’ earlier work, a carryover from their documentary background. And yet, they are astonishingly efficient storytellers, weaving the necessary clues audiences need to evaluate — and at times entirely reconsider — their characters with the expertise of veteran detective novelists.
  18. A beguilingly immersive, multifaceted, vividly sensorial portrait of his mother’s homeland, Jamaica.
  19. It may refer inescapably to genre classics from elsewhere, but The Wild Goose Lake is like an organic feature of the Chinese cinematic landscape, as though it pooled onto the screen in all its oily, murky glory, having welled up from deep inside the ground. Suddenly, China feels like the noirest place on Earth.
  20. It’s a heady, engrossing, indulgently sprawling profile of a modern athlete in all his glory and contradiction, but it’s also a film that leaves you with more questions than it should.
  21. It’s a furious work of social geography that satisfies slightly less as a character piece: In its ambitious attempt to dramatize the violent anxieties of men on both sides of the law, Les Misérables risks selling some victims a little short.
  22. Though this gorgeous, slow-burn lesbian romance works strongly enough on a surface level, one can hardly ignore the fact, as true then as it is now, that the world looks different when seen through a woman’s eyes.
  23. The “LLC” in the film’s title is a clue that the movie wasn’t conceived purely in a spirit of empathy, although Herzog’s humor is good-natured enough. If anything, Family Romance is just the latest iteration of a uniquely human desire to replicate the relationships we can’t control in our lives.
  24. Beautifully written and performed by the director and real-life BFF Kyle Marvin, Covino’s film gets precisely the balance of dependency and denial that keeps a bad bromance afloat.
  25. The movie, building on “The Witch,” proves that Robert Eggers possesses something more than impeccable genre skill. He has the ability to lock you into the fever of what’s happening onscreen.
  26. Whether or not he is specifically referring to the present day, its demagogues, and the way certain evangelicals have once again sold out their core values for political advantage, “A Hidden Life” feels stunningly relevant as it thrusts this problem into the light.
  27. Needless to say, a historical anti-musical that makes [the previous film] “Jeannette” look like “Moulin Rouge!” by comparison is going to win the filmmaker few converts.
  28. 5B
    It’s conventional, occasionally maudlin docmaking that nonetheless grips the heart exactly when it needs to.
  29. So maybe “Port Authority” isn’t the most elegant queer romance audiences will see this year, but it’s propelled by a pair of terrific performances, and Lessowitz captures the spirit and energy of the vibrant ball world in a totally fresh way.
  30. Beneath the film’s soapier turns, and despite its more strident moments, there is a small dose of bittersweet wisdom here about the dangers inherent in entrusting one person — whomever it might be — with sole custody of your self-worth.

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