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. SiREN
    Siren is lively if occasionally rough around the edges, packing a satisfying amount of action and a couple of amusingly nasty surprises into its short running time.
  2. The Hollow Point
    There are sporadic compensations for your investment of time: Ian McShane’s robust overplaying of an unapologetically scuzzy small-town lawman, John Leguizamo’s dead-serious villainy as a scarily resilient hit man, evocative lensing by David Jose Montero, and a few modestly inventive twists in the otherwise predictable plot.
  3. American Wrestler: The Wizard
    What the movie lacks in originality it makes up for in personality, as Kosturos brings the kind of rare alchemy to the role of Ali that makes all present feel as if they’re watching the birth of a movie star.
  4. Assassin's Creed
    In Assassin’s Creed, Michael Fassbender is like the ultimate special effect. Just by showing up, he confers respectability on two hours of semi-coherent overly art-directed video-game sludge.
  5. The Bad Kids
    Taking the macro view, [Fulton and Pepe] seem to miss out on the types of thorny micro details — about McGee’s relationship with his mother, or about Viland’s own history preceding her tenure at Black Rock — that would have provided additional complexity.
  6. The Great Wall
    Director Zhang Yimou capably gives period fantasy-action The Great Wall the look and feel of a Hollywood blockbuster, but his signature visual dazzle, his gift for depicting delicate relationships and throbbing passions are trampled by dead-serious epic aspirations.
  7. A Kind of Murder
    While thrills are mitigated by convoluted plotting and suspect character behavior, the film’s uniquely bleak twist on classic noir conventions is enlivening.
  8. Passengers
    There’s only one place for Passengers to go, and once it gets there, Jon Spaihts’s script runs out of gas. Tyldun handles the dialogue almost as if he were doing a stage play, but he turns out to be a blah director of spectacle; he doesn’t make it dramatic.
  9. Rogue One: A Star Wars Story
    Director Gareth Edwards has finally made the first “Star Wars” movie for grown-ups.
  10. Collateral Beauty
    By the end of Collateral Beauty, you’d have to have a heart of stone for the film not to get to you a bit, but even if it does, you may still feel like you’ve been played.
  11. My Life as a Zucchini
    On one hand, the cartoon is never afraid to be cute, but more importantly, it’s committed to being real.
  12. Why Him?
    It’s bluntly cheeky, it goes on for too long, but the concept keeps on giving.
  13. Hidden Figures
    Hidden Figures is empowerment cinema at its most populist, and one only wishes that the film had existed at the time it depicts — though ongoing racial tensions and gender double-standards suggest that perhaps we haven’t come such a long way, baby.
  14. Silence
    Though undeniably gorgeous, it is punishingly long, frequently boring, and woefully unengaging at some of its most critical moments.... Still, viewed through the narrow prism of films about faith, Silence is a remarkable achievement.
  15. The Bounce Back
    The Bounce Back was co-written, directed, and edited by Youseff Delara, and for a while he creates some lively screwball tension.
  16. Accidental Courtesy: Daryl Davis, Race & America
    The differing responses Accidental Courtesy is likely to evoke in viewers make it a great conversation-starter for public and educational forums.
  17. Slash
    An effortlessly engaging dramedy that somehow manages to sustain an air of buoyant sweetness even while repeatedly referencing erotic fantasies and sexual anxieties.
  18. Abattoir
    Though it’s handsome enough to look at, Abattoir can’t quite seem to decide just how supernatural it wants to be or how meta its horror content should play
  19. Frank & Lola
    It’s poised between reality and paranoid daydream, it’s about the dangerous ways that love can go wrong, and it does the thing that noir was invented to do: It sucks you in.
  20. Old Stone
    Channeling the style of gritty mainland independent films but without the usual longueurs, the film deftly morphs into a suspense thriller with Dostoevskyan undertones.
  21. Beyond the Gates
    This fun if unmemorable occult thriller sports — all too faithfully at times — both the typical pleasures and shortcomings of the movies it pays homage to.
  22. Office Christmas Party
    Turn them loose, and this cast has nearly endless potential to be outrageous, and yet, the script...keeps interrupting the festivities with unnecessary details about whether the company will even be around tomorrow.
  23. Sky on Fire
    There’s really nothing new here. Still, it’s hard to deny the sporadically satisfying nostalgic appeal of this dash down memory lane.
  24. All We Had
    Katie Holmes makes an undistinguished helming debut with All We Had, a middlebrow drama with no pretensions but also no depth.
  25. Burn Country
    While Olds and Paul Felten’s screenplay requires some significant credulity leaps, The Fixer is flavorsome, engaging and unpredictable enough that one can give those gaps a pass, at least to an extent.
  26. Incarnate
    Offers a relatively fresh take on standard-issue exorcism-melodrama tropes, along with a performance by Aaron Eckhart that is more than persuasive enough to encourage the investment of a rooting interest.
  27. Anonymous
    Anonymous plods through a low-stakes tale that’s almost frictionlessly insulated against real-world consequences.
  28. The Belko Experiment
    As a self-aware guilty pleasure, The Belko Experiment may not quite seize greatness, but it does give it a playful squeeze.
  29. Run the Tide
    Lautner’s earnest turn, as well as those of familiar TV faces Johnson (“Bates Motel,” “The Shield”) and Zimmer (“Entourage,” “UnReal”), are hamstrung by writing that demands a certain emotional urgency while providing the performers little opportunity for surprise or nuance.
  30. Believe
    An aggressively sincere but off-puttingly saccharine drama.
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