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. BPM (Beats Per Minute)
    [A] sprawling, thrilling, finally heart-bursting group portrait of Parisian AIDS activists in the early 1990s.
    • 69 Metascore
    • 80 Critic Score
    Lover for a Day
    The film benefits from the collective contributions of four screenwriters...whose collective insights result in a beautiful complexity.
  3. Filmworker
    Filmworker is a brisk, compelling movie that’s pure candy for Kubrick buffs, yet there are oddities about it.
  4. The Square
    Ostlund, at his best, is a heady and enthralling filmmaker, but unfortunately, he has so much on his mind that he is also, at his weakest, a shapeless and didactic one.
  5. Hermia & Helena
    With its tricksy timeline and waifish subplots, the film feels unduly stretched even to reach its modest length, while our dramaturgy-fixated protagonist is slow to stumble into a compelling arc of her own.
  6. Joshua: Teenager vs. Superpower
    Piscatella and editor Matthew Sultan have shaped the kind of exciting you-are-there narrative that captures the feeling of underdog “naive” idealism transforming into a game-changing popular movement.
  7. Good Time
    These restlessly independent auteurs have passed the genre-foray test with flying neon colors, at no cost or compromise to their abrasively humane worldview.
  8. Radiance
    The film’s thematic preoccupation with the power of images — as perceived through any of the senses — is a worthy and thoughtful one. Yet the execution lacks the visual and emotional rigor of Kawase’s most imposing films, instead swaddling viewers in buttery lighting and blunt, earnest platitudes.
  9. The Day After
    Even lesser Hong has its lackadaisical pleasures, and The Day After has its share of wry musings and twitchy banter between characters to counter its visual stasis and lulling storytelling.
  10. Claire's Camera
    Characters often most reveal themselves when they’re saying nothing of any particular consequence in Hong’s short, loose script.
  11. Blade of the Immortal
    The story’s supernatural elements enable Miike to take huge liberties with chanbara, the oldest genre in Japanese cinema, and break free from rigid traditions of choreographing swordplay sequences.
  12. The Florida Project
    As a filmmaker, Baker is a graceful neorealist voyeur who thrives on improvisation, and his storytelling, in The Florida Project, is mostly just a series of anecdotes. But that turns out to be enough.
  13. The Killing of a Sacred Deer
    Farrell and Kidman are astonishingly gifted at playing the subtext of every scene.
  14. The Beguiled
    Coppola, in attempting to elevate the material, doesn’t seem to realize that The Beguiled is, and always was, a pulp psychodrama. Now it’s pulp with the juice squeezed out of it.
  15. The Meyerowitz Stories (New and Selected)
    With no shtick to fall back on, Sandler is forced to act, and it’s a glorious thing to watch.
  16. Wonderstruck
    Haynes, working from a script by Selznick, guides and serves the material with supreme craftsmanship. For a while, he casts a spell. Yet one of the film’s noteworthy qualities is that it creates a nearly dizzying sense of anticipation, and the payoff, regrettably, doesn’t live up to it.
  17. Baywatch
    The trouble is that the movie plays it boringly straight.
  18. Ava
    Mysius’ startlingly assured, exquisitely shot “Ava” is a film that doesn’t simply explore the textural possibilities of 35mm film for the hell of it, it makes thematic use of them, to stunning, evocative effect.
  19. Don't Tell
    With West’s magnetic performance and Garrett’s sensitive direction leading the way, the film achieves its crucial goal of turning uncomfortable subject matter into emotionally rewarding viewing.
  20. War Machine
    Everyone has a different idea of what’s funny, but it’s hard to imagine anyone being amused by War Machine, a colossally miscalculated satire.
  21. Bobbi Jene
    For a film with such a narrow scope, this one oddly refuses to ask some of the basic questions that might have enriched our understanding.
  22. The Boy Downstairs
    Mamet has a quick, spry reaction time and a gently forlorn focus that holds the screen, and she holds this movie together.
  23. Pirates of the Caribbean: Dead Men Tell No Tales
    The franchise has lost a bit of its luster with every successive installment, but never has a “Pirates” film felt this inessential, this depressingly pro forma.
  24. Okja
    Downright charming at times and irrepressibly gonzo at others, Okja hews to an all-too-familiar trajectory.
  25. Everything, Everything
    For the first hour or so, it is unabashedly sappy yet modestly engaging, buoyed by the low-key charm of its two leads. But then an implausible third-act reveal spoils the fun, and the movie never recovers.
  26. Lost in Paris
    Who wouldn’t want a picturesque trip to the French capital that delivers more laughs than a nitrous oxide leak near the hyena compound? In fact, I’d go as far as to promise that Lost in Paris offers the three most delightful sight gags you’ll see on screen all year.
  27. Becoming Bond
    Even Lazenby detractors can’t help but be charmed by the man himself, who may not have been much of an actor, but turns out to be a bloody good storyteller, and an awfully salty one at that — revealing sexual conquests that would make even Bond blush.
  28. Paint It Black
    As directorial debuts go, Amber Tamblyn’s Paint It Black is kind of a mess, but then, so are its characters, which makes the film’s raw, off-kilter style somehow right for the material.
  29. Get Me Roger Stone
    When you watch Get Me Roger Stone, the lively, fun, sickening, and essential new documentary, you realize that Atwater and Rove may have excelled at what they did, but there was — and is — only one king.
  30. Whisky Galore!
    Oddly stiff where Alexander Mackendrick’s original village farce was infectiously tipsy, Gillies MacKinnon’s interpretation is twee, tweedy and rather timid about putting its own stamp on a now-quaint story.
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