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. A well-crafted if incompletely satisfying drama whose character study intrigues but ultimately feels somewhat frustratingly underdeveloped.
  2. As a spiritually “lost” man searching for a more literally lost woman, Hawkes has just the offhand gravitas required for a noir hero. Yet in a movie where character backstory and plot coherence hardly figure, any emotional realism the actor provides is wholly his invention.
  3. The arguments between Ramanujan and Hardy form easily the most absorbing aspect of The Man Who Knew Infinity, as their eloquent clash of wills is shown to be not just intellectual but ideological in nature.
  4. The Girl in the Photographs is a slasher movie filled with smug and self-absorbed characters who are not nearly as clever as they obviously assume they are.
  5. Bercot studiously avoids the sort of catharsis-oriented pop psychology the genre so often peddles.
  6. A film that captures the underlying essence of baseball at the beginning of the 21st century: both humbly wistful and progressively cutting-edge.
  7. There are gentle rewards to be gained from the initially brittle, gradually tender rapport between two actors of contrasting greatness.
  8. Baskin becomes something of a monotonous dirge. Diverting to an extent, the film’s horrors aren’t shocking or distinctive enough, its surreal atmospherics not quite strong enough to cover for the sketchy script.
  9. Snyder has set a Sisyphean task for himself. That this very long, very brooding, often exhilarating and sometimes scattered epic succeeds as often it does therefore has to be seen as an achievement.
  10. Even the flaws of Thank You for Playing have the effect of underscoring its humanity; the movie may immortalize a creative endeavor, but it never loses sight of the fact that it’s also honoring a life.
  11. Here, within a thrilling tale that respects the intelligence of its audience, attentive parents will find the antidote to their fear that watching cartoons might rot your brain. If anything, April and the Extraordinary World seems bound to do the opposite, encouraging children to pursue their own passions and creativity.
  12. Every bit as sitcom-ish and saccharine as its predecessor, but considerably less distinctive.
  13. In its own playful way, this tonally astounding, genre-confounding movie offers a variation on the famous chicken-and-egg debate, being a twisted inquiry into the characters’ origins and mankind’s own search for meaning.
  14. A brittle, no-joke comedy of unchecked privilege that maintains the tone of social satire without ever alighting on a specific target.
  15. A richly immersive documentary that plays like an elegy for a time-honored but slowly vanishing way of life.
  16. It’s a singularly off-kilter vision of repurposed invention, though even at 72 minutes, the film struggles to keep itself afloat, its central conceit too slender to maintain its sense of mirth or wonder.
  17. The biggest surprise, frankly, might be that the funniest person here is frequently Manganiello. Indeed, the mere visual juxtaposition of the towering “Magic Mike” star and Reubens in the same frame together is practically a special effect in itself.
  18. Cage supplies a stream of tension-defusing laughs while the script steadily applies the screws, but this disposable exercise in comic nihilism offers only a modest payoff at best.
  19. Sausage Party is something far short of Shavian in terms of sophisticated dialogue — really, there is just so much novelty value one can milk from repetitious fusillades of F-bombs launched by animated characters — but it is difficult to deny the hilarity quotient of a movie so exuberantly and unapologetically rude and crude.
  20. Few Iranian films have tried to realistically depict both the urban middle and lower classes, and fewer still with the complexity of story telling and depth of characterization in Asghar Farhadi’s impressive third feature, Fireworks Wednesday.
  21. In a welcome gender reversal from the father-son dynamic of “Heaven Is for Real,” Garner and Rogers deliver fully committed performances that credibly convey the physical and mental anguish endured by sick children and their caregivers.
  22. Cuaron’s movie may be an exaggerated nightmare vision of murderous xenophobia run amok, but the catharsis in this tale of survival and payback is undeniably real.
  23. Portraying a cutthroat business in which little is “fair,” Don’t Think Twice acknowledges the bloodshed, but applies the razor with enough empathetic delicacy to earn its cautiously upbeat fade.
  24. An initially amusing but fatally overstretched action-comedy that marks a lamer-than-expected big-screen outing for Keegan-Michael Key and Jordan Peele.
  25. This pious drama is a work of minimal imagination and even less subtlety.
  26. The movie largely benefits from Abu-Assad’s natural talent for building suspense and rhythm; if the story’s elisions and fabrications occasionally feel too tidy, it more than earns its emotional impact on the strength of its excellent young cast.
  27. Linklater indulges his characters’ antics with such wild, free-flowing affection that you might miss the thoughtful undertow of this delightful movie: Few filmmakers have so fully embraced the bittersweet joy of living in the moment — one that’s all the more glorious because it fades so soon.
  28. An attractive and appealing cast helps this formulaic pablum go down easy, but the genial tone buffs the edge out of every element.
  29. Though never outright dull, A Haunting in Cawdor manages to provide few incidents of genuine interest while leaving potentially rewarding character and thematic elements unexplored.
  30. This arresting seriocomedy deftly walks a tightrope between droll and tense, over a gaping pit of crazy.

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