Variety's Scores

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For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
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  1. Leaning Into the Wind
    Riedelsheimer is well-matched to Goldsworthy’s methods and interests.
  2. 1:54
    1:54 intends to be a straight-shooting social drama about the multifaceted problem of bullying in the digital age, but it’s out of touch with how real teenagers think and act and communicate. It’s a modern film that feels like a relic.
  3. Thoroughbreds
    Thoroughbreds doesn’t look or sound anything like other teen-centric movies, but this is hardly a surface-only character study.
  4. The Forgiven
    It’s Eric Bana, cast as a fictionalized composite of various white-supremacist apartheid criminals, who comes closest to electrifying proceedings in what’s at heart a one-room two-hander, unconvincingly padded and populated for the big screen.
  5. Gringo
    There’s an old-school, B-movie snap to much of the proceedings, which Nash Edgerton modernizes without imposing too flashy a style upon the material. It’s pulp, plain and simple, delivering on the chance to watch depraved characters navigate unseemly situations.
  6. The Strangers: Prey at Night
    There’s no real terror or dread in it, just the same old meat-puppet gore and cattle-prod scares served up with a kind of ritualized self-satisfaction.
  7. A Wrinkle in Time
    A Wrinkle in Time is wildly uneven, weirdly suspenseless, and tonally all over the place, relying on wall-to-wall music to supply the missing emotional connection and trowel over huge plot holes.
  8. Where Have You Gone, Lou DiMaggio?
    The doc is all talk and little action, with most of the first hour of this 75-minute pic focused on DiMaggio chatting about the good old days, as well as his stand-up plans and what tonal approach he should take — the nuances of crafting a set — rather than genuinely working toward those goals.
  9. Fullmetal Alchemist
    The first live-action adaptation of the phenomenally popular Japanese manga created by female author Hiromu Arakawa proves to be a mixed bag of eye-catching visuals and uneven storytelling — rushed and choppy at times, and draggy and repetitive at others.
  10. Breaking Point: The War for Democracy in Ukraine
    One emerges from Breaking Point stunned and moved, with the realization that the Ukrainians are fighting for themselves, as they have for centuries, but also that they’re now fighting for all of us.
  11. Operation Red Sea
    Hong Kong action-director Dante Lam’s Operation Red Sea is war propaganda that comes off as antiwar, a patriotic film so carried away by its own visceral, pulverizing violence that patriotism almost becomes an afterthought.
  12. Shirkers
    Shirkers isn’t about Cardona, but about Tan reclaiming the film and the story that he had taken away from her. Her energized, rough-hewn documentary style doesn’t seem that far removed from her lost debut, but she and her friends have enough perspective to look back at that period in their lives with touching fondness and good humor.
  13. Chappaquiddick
    The movie is avidly told and often suspenseful, but it’s really a fascinating study of how corruption in America works. It sears you with its relevance.
  14. Souvenir
    The movie doesn’t have the budget or imagination to permit subplots.
  15. Death Wish
    All the new Death Wish is truly committed to is getting a rise out of the audience. It’s a first-person-shooter fantasy. The film’s only real view of justice is that it’s a blast.
  16. Finding Your Feet
    The modest rewards in Finding Your Feet are ones of sprightly human chemistry rather than great narrative discovery, of all-round good humor rather than outright hilarity.
  17. Midnighters
    Midnighters is brisk and eventful. Yet as a thriller driven by constantly worsening straits, it’s not as cleverly twisty as it would like to be, nor are the well-played characters granted enough dimensionality for their dynamics to be all that surprising or convincing.
  18. Oh Lucy!
    Most of Oh Lucy! passes by breezily, and in different hands this could easily be a crowdpleasing comedy...but when Hirayanagi opts to plunge deeper, you realize the darkness has been there waiting all along.
  19. Submission
    Levine, who wrote the script, knows how to stage an energized intellectual battle, but adapting “The Blue Angel” to a 21st-century setting turns out to be a distinctly musty and unrewarding idea.
  20. Rogers Park
    It’s an ideal showcase for the four leads, who are given the latitude to create fully human characters.
  21. Don't Talk to Irene
    Even when the film’s eccentricities feel too choreographed, it manages to deliver its preordained uplift with good-humored charm.
  22. Mohawk
    [Geoghegan] allows his film’s message about intolerance and oppression to emanate naturally from the action, thereby letting the proceedings gradually transform into a revisionist fantasy of defiance, expulsion and vengeance.
  23. They Remain
    They Remain is a movie that lives down to your worst expectations.
  24. Werewolf
    For all her attempts at documentary-style verisimilitude, filmmaker Ashley McKenzie doesn’t really cover much new ground with Werewolf.
  25. Love, Simon
    Love, Simon proves groundbreaking on so many levels, not least of which is just how otherwise familiar it all seems, from laugh-out-loud conversations in the school hallways to co-ed house parties where no one drives drunk, and no one gets past first base.
  26. Goldstone
    Goldstone is nothing if not a focused, unified piece.
  27. 7 Days in Entebbe
    A distinct air of staleness permeates the whole enterprise — even the palette is brown as an old biscuit, and Rodrigo Amarante’s minimal score is so politely low in the mix that it’s hardly even there.
  28. Survivors Guide to Prison
    If ever a proselytizing documentary could be described as assaultive, Survivors Guide to Prison might sport that label as a badge of honor.
  29. Mute
    What is Jones trying to say with Mute? One would hardly guess this over-congested generic exercise came from the same mind as the elegant, almost minimalistic “Moon,” which made far better use of all that went unsaid.
  30. The Lodgers
    David Turpin’s screenplay is adequate but slender, with rather too few complications and a foundational mythology that, when finally revealed, proves pretty skimpy itself. That doesn’t trouble O’Malley. He brings so much gloomy, lustrous visual enchantment to the tale that it feels quite bewitching while you’re watching it.
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