Variety's Scores

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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:
  1. Positive: 9,121 out of 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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  1. The Curse of La Llorona
    An efficiently formulaic shocker.
  2. Extra Ordinary
    Extra Ordinary is a kind of tea-cosy “Ghostbusters” that’s consistently funny in a pleasingly off-kilter way.
  3. Porno
    Unfortunately, Porno gets more uneven as it goes on, with a somewhat slack midsection and a mix of earnestness, broad comedy, titillation, and moralizing that neither fully gels, nor makes something unpredictably wild out of those clashing elements.
  4. Villains
    This black comedy thriller has a good cast to spark a scenario that’s intriguing enough to hold attention, if not quite clever enough to be a knockout.
  5. Yes, God, Yes
    Yes, God, Yes is bound to rankle some conservative Christians of every denomination ... But Dyer’s Alice generates too much rooting interest, and the movie as a whole is too nondenominationally likable, for most other viewers to cast any stones.
  6. Nancy Drew and the Hidden Staircase
    But here’s the cool thing: The film’s consistently clever script, from empowerment-minded “The Handmaid’s Tale” writers Nina Fiore and John Herrera, isn’t nearly as interested in the mystery as it is in Nancy Drew herself, or in the circle of characters and relationships that surround her. And that’s the smart way to approach such a case, since the movie was clearly intended to be more than a one-off.
  7. Captive State
    Although the TV ads and other promotional material appear to promise a megaplex-ready thrill ride about space invaders and rebellious Earthlings, this rigorously intelligent, cunningly inventive, and impressively suspenseful drama plays more like a classic tale about a disparate group of resistance fighters united in a guerrilla campaign against an occupying force.
  8. No Manches Frida 2
    dreary...Bright, crude and aggressively hackneyed, director Nacho G. Velilla’s follow-up prizes energy over originality. While its humor elicits far more eye-rolls than laughs — and will thus leave franchise newbies cold — its high-octane style should appeal to fans of the first film.
  9. Bruce!!!
    The film moves along lackadaisically, without any knack for establishing scenarios, or setting up punchlines, that might lead to laughs — which, in turn, often makes it play like an enervating drama. Bruce!!!! makes a lot of verbal noise, but it says nothing worth remembering.
  10. Finding Steve McQueen
    Finding Steve McQueen is a ramshackle indie heist drama that has a little bit (but not much) to do with Steve McQueen.
  11. Wonder Park
    The notion of a larger-than-life theme-park world as a projection of what June is going through comes directly out of “Inside Out,” but the comparison does Wonder Park no favors, because the earlier film was a masterpiece of bursting ingenuity, leaving this one to play like the scaled-down toddler version. On that score, it must be said that little kids will like Wonder Park just fine. But there’s a difference between a great escape and a winsomely crafted pacifier.
  12. Five Feet Apart
    Fresh off of memorable supporting parts in “The Edge of Seventeen” and “Support the Girls,” Richardson gives a star turn every bit as charismatic and assured as the film is formulaic and forgettable, bringing soul, style and nuance to a character that could have easily been a condescending caricature.
  13. The Peanut Butter Falcon
    An odyssey audiences won’t soon forget.
  14. Good Boys
    A little too imitative of “Superbad” ... Good Boys lacks that film’s wit and heart. It’s a lively, slick package, yet crude and obvious at every turn.
  15. The Highwaymen
    Commands attention less as historical counterpoint than as a sturdy showcase for the neatly balanced lead performances of Kevin Costner and Woody Harrelson.
  16. Booksmart
    Not since “Superbad” has a high school comedy so perfectly nailed how exhilarating it feels to act out at that age ... In this year’s class of first-time feature directors, Wilde handily earns the title of Most Likely to Succeed.
  17. The Art of Self-Defense
    This singular black comedy balances off-kilter humor with an unexpectedly thriller-esque undercurrent, to the extent that audiences will find it tough to anticipate either the jokes or the dark, “Fight Club”-like turn things eventually take — all to strikingly original effect.
  18. Adopt a Highway
    All evidence here suggests that Marshall-Green needs a strong collaborator — or maybe just someone else’s screenplay — the next time he gets behind the camera.
  19. Long Shot
    More creepy than romantic, more chauvinist than empowered — and in all fairness, funnier and more entertaining than any comedy in months — Long Shot serves up the far-fetched wish-fulfillment fantasy of how, for one lucky underdog, pursuing your first love could wind up making you first man.
  20. The Beach Bum
    Simultaneously shaggy and hyper-stylized, The Beach Bum plays like a less-coked-out “Scarface,” the collected works of Charles Bukowski, and a Cheech & Chong movie all rolled up in one — an epic goof in which the cast (not just McConaughey but Snoop Dogg, Martin Lawrence, Jonah Hill, and Jimmy Buffett) play elaborate, semi-improvised caricatures of outlandish tropical fruits.
  21. Sword of Trust
    The considerable pleasure of Lynn Shelton’s latest “Sword of Trust” is that everyone onscreen is so good at this kind of [improv] work that one wishes more tightly scripted comedy screenplays had such savory dialogue, or inspired character conceptions.
  22. Us
    Terrifying...The less you know going in — and the less energy you spend thinking about it after the fact — the better the movie works, trading on some uncanny combination of Peele’s imagination and our own to suggest a horror infinitely larger and more insidious than the film is capable of representing.
  23. The Wind
    Horror hounds may find themselves getting a little impatient with “The Wind,” especially when Tammi begins on such an unflinchingly nasty note ... but then elects to keep the gore to a minimum until the grisly climax. The film is much more successful, however, as a feminized reworking of the western mythos.
  24. One Child Nation
    Simultaneously intimate and far-reaching, the film does far more than scratch the surface, forcing audiences to confront a policy that, amid concerns over population growth in other corners of the globe, begs to be better understood before another country seeks to repeat it.
  25. The Sound of Silence
    The Sound of Silence is a deeply silly movie that takes itself incredibly seriously, and believe it or not, that’s its great pleasure.
  26. Maya
    This is the first stumble in Hansen-Løve’s hitherto impressive filmography — the kind of directorial misstep that at least makes it clear how deft her footwork usually is.
  27. Driveways
    That uncommon and all-too-welcome gift — like some kind of fragile wildflower, emerging tentatively through cracks in the concrete: a film about kindness.
  28. The Sower
    The resulting film is so delicately wrought and exquisitely visualized that the harsher, eerier details of Ailhaud’s account stand out all the more strikingly, like a shot of vinegar in a pristine crème caramel.
  29. The Kid
    A consistently involving and often exciting drama in which the two Wild West icons are presented from the p.o.v. of an impressionable adolescent who weighs the pros and cons of each man as a role model.
  30. Triple Frontier
    There’s a dullness at the core of Triple Frontier.
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