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. It is much to the credit of Hanks and his collaborators that All Things Must Pass makes this particular iteration of the oft-told tale come across as freshly compelling, even poignant.
  2. Racing Extinction tends to be far more effective when presenting its enlightened activists as heroes.
  3. “Brothers'” script hardly provides enough to hang a short on.
  4. The relative restraint of keeping any supernatural creatures and most violence just offscreen works well to maintain suspense. It’s too bad Beck and Woods didn’t exercise equal caution in the dialogue department.
  5. A mix of found-footage thriller, mock-doc realism and public service announcement that rings true almost as often as it rings false.
  6. In its avoidance of all ambiguity, this giant-screen opus ultimately boils down to a rhapsodic endorsement of the tourism and shopping industries.
  7. A magnificent tapestry of sounds and images, this documentary interweaves multiple leitmotifs that flow through the film like familiar old friends, surging to the forefront only to be reabsorbed and casually encountered farther on.
  8. No amount of industry-jargon blather and flashback-fractured plotting, however, can mask the wholesale phoniness and overpowering lethargy of this dreary drama.
  9. Ferguson’s careful, painfully banal script keeps sidling up to the neverending conflict that splits this lovely city in two, then backing away into conciliatory but meaningless bromides about intercultural understanding. He probably should have stuck with the gorgeous vistas.
  10. Think of Kahlil Gibran’s The Prophet as a gift: a work of essential spiritual enlightenment, elegantly interpreted by nine of the world’s leading independent animators, all tied up and wrapped in a family-friendly bow by “The Lion King” director Roger Allers.
  11. Although shot and performed in a determinedly raw, naturalistic register, this emotionally roiling portrait of two twentysomething Texas sweethearts too often veers toward melodramatic overstatement, inspiring little empathy or understanding despite the committed performances of promising young leads Taissa Farmiga and Ben Rosenfield.
  12. A coolly absorbing, deeply unflattering portrait of the late Silicon Valley entrepreneur that expands, not altogether convincingly, into a meditation on our collective over-reliance on our favorite handheld gadgets.
  13. Despite some bumpy tonal shifts and inconsistencies of characterization, Hello, My Name Is Doris impresses as a humanely amusing and occasionally poignant dramedy.
  14. The concept carries The Final Girls cheerfully past some dry stretches, and the actors are clearly enjoying themselves, with Farmiga the only representative of humorlessness in what is admittedly the sole sincerity-load-bearing role.
  15. Simultaneously clever and exasperating, the film puts a novel spin on the genre Roger Ebert dubbed “the Dead Teenager Movie.”
  16. Danner makes an elegant, warmly sympathetic heroine in this sometimes broadly played but always tender and appealing effort.
  17. Nothing about the circumstances revealed in The Harvest could be called normal, and yet it’s a credit to a fertile imagination that the film proves so terrifyingly relatable.
  18. A wry, oh-so-gentle dual character study saved from sleepiness by the unexpected star pairing of Catherine Deneuve and Gustave Kervern.
  19. A mesmerizing glimpse into Sarno’s search for a sub-Saharan Walden and the implications of that choice.
  20. The unresolvable tension between logic and feeling animates Eugene Green’s La Sapienza, an exquisite rumination on life, love and art that tickles the heart and mind in equal measure.
  21. The eighth entry in Disney’s eco-minded Disneynature series, Monkey Kingdom may well be its cheekiest, funniest and most purely entertaining.
  22. Desert Dancer traffics in the kind of spirited rebel-youth archetypes who’ve been endemic to dance movies for decades.
  23. Although it sports a few fresh moments, the tonally all-over-the-place drama is hampered by script and assembly problems.
  24. Superfast! takes aim at easy targets, and misses by miles.
  25. Munzi focuses on incongruous leftovers from a benighted past, where kinship and blood feuds in a marginalized corner of rural Italy fester until entire communities are drawn into a whirlpool of intimidation and violence. This is the film’s strong suit.
  26. As heroines go, it’s refreshing to get one as complex as this: When psychologically scarred female characters do turn up in thrillers, they’re usually little more than shivering victims who set a group of male cops in motion, but here, Libby does her own detective work, while Hendricks lends star power to the flashback scenes.
  27. A textbook noir premise gets an overamped and undercompelling treatment in The Girl Is in Trouble.
  28. Where Haupt succeeds is in conveying the passion felt by everyone who works on the Sagrada, from foremen to sculptors.
  29. Fails to convince on several crucial levels, including plotting and dialogue.
  30. Appealing performances by a trio of second- and third-generation Hollywood kids keep this three-hankie twaddle more bearable than it deserves.

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