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. At once questioning and reaffirming the pleasures of cinematic espionage, this is the rare sequel that leaves its franchise feeling not exhausted but surprisingly resurgent at 19 years and counting.
  2. Silly, screechy and eminently watchable.
  3. The insights the movie has aren’t exceptional; this stranger-than-fiction series of events is enough.
  4. A low-key but powerfully affecting urban drama that tells a familiar story — of drugs, power and respect on the inner-city streets — with such unusual authenticity and dramatic force that it’s as if we’re seeing it for the first time.
  5. Slick but derivative and forgettable on all levels.
  6. This character-driven picture takes its time marinating in quiet conversations and Austin atmosphere, making the sudden jolts of violence all the more shocking when they land.
  7. Where The Gift toys with our expectations is in its refusal to align itself with any one character or to manufacture obvious heroes and villains.
  8. Where Sandler once exulted in our outrage (and frequently, our laughter), he now seems barely capable of mustering enough effort to carry a scene, let alone advance to level 255 of “Galaga.” There’s no joy left in his shtick.
  9. Running a full reel longer than needed, the film’s balance of romance, humor and pathos starts to slip in the final stretch... though the emotional notes ring true.
  10. Another theater adaptation that remains stuck to the boards, despite the considerable talent and energy on tap..... equal parts diverting and strained, most likely to please the same niche audiences who have given the material a modest stage shelf life for the last quarter-century.
  11. Thorpe’s documentary can sometimes seem a bit intimidated by the various cans of worms it pries open, but it’s nonetheless a breezy, funny, often quite clever film more concerned with minor epiphanies than big answers.
  12. Too much of Strangerland simply feels dodgy and overdetermined, veering between art-film pretensions and melodramatic gestures, and governed by ambitions that outstrip the filmmakers’ abilities.
  13. A handful of solid performances and some subtle ’70s period detailing are hardly enough to recommend this flat, predictable drama.
  14. The overriding effect of Twinsters is a sense of pleasure at having borne witness to emotional epiphanies of the most affecting and intimate sort.
  15. It’s the nerve-racking situation that faces our hard-luck protag, with its heady black humor, social satire and a touch of surrealism, that keeps audiences on the edge of their seats.
  16. Fast-paced, entertaining and informative.
  17. In a movie that should have gone for funnier or scarier (ideally both), there’s way too much eventual emphasis on the leads’ uninspired evolving romance.
  18. A generous and briskly entertaining doc.
  19. An oddball male weepie whose curious mixture of sweetness and sadism is well anchored by two solid, character-rich lead performances.
  20. While the fine cast teases out glimmers of nuance here and there, Mary Agnes Donoghue’s film plays like a series of hand-holding growth exercises for closed-minded conservatives, and relies too heavily on its tying-the-knot finale for both dramatic momentum and emotional closure.
  21. Although Davis’ performance is so good here, it’s tough to know where the real world ends and the vendetta fantasy begins.
  22. Beginning as a colorful documentary about the Puerto Rican transgender community, candidly showcasing nine very different subjects, Mala Mala slowly morphs into a celebration of solidarity and collective activism without ever losing sight of its likable protagonists.
  23. Even the less immediately engaging material here helps build an uncannily cohesive snapshot of a very specific time and place, and the past decades have only given it a bittersweet edge.
  24. By second-guessing what audiences want, Murakami falls into the same trap studios do when trying to appease mass tastes, delivering a film that features many of his familiar designs and characters but precious little in the way of personal vision.
  25. Though Stray Dog is slowly paced and at times a bit repetitive, Granik and her crew rarely risk losing their audience’s attention, and they uncover a wealth of images that are alternately striking, symbolic and singular.
  26. Casting Cassel as a ruthless villain might seem like a cliche, but Kleiman uses him counterintuitively, locating an avuncular, calming quality in the actor.
  27. The personalities here feel genuine, as if a group of friends had banded together to make a movie just a few degrees removed from their real lives — a la “Clerks” or “Swingers,” though not nearly as conceptual, plot-wise.
  28. While the story arc of Hippocrates is not especially remarkable, the film works best in its depiction of life in the bowels of the hospital, which the public never visits.
  29. The Gallows isn’t without a certain amount of atmosphere, it simply feels borrowed wholesale. That would matter less with a better script, but the four main characters are paper-thin even by genre norms.
  30. The universal theme of personal principle vs. human necessity gets a workout in languid but inexorably powerful morality play, Runoff.

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