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. The Other Man: F.W. de Klerk and the End of Apartheid
    It’s an opportunity only half seized: Haphazard both as biography and historical survey, the film asks more salient questions than it can answer in a rushed 76 minutes.
  2. Seymour: An Introduction
    This first documentary directed by Ethan Hawke happily sidesteps any vanity-project pitfalls, granting full expression to Bernstein’s wise and witty commentary on a craft that he’s spent decades honing — as well as the proper application of that craft when the demands of art are often outweighed by the pressures of commerce.
  3. Knight of Cups
    Those who have had their fill of the director’s impressionistic musings will find his seventh feature as empty as the lifestyle it puts on display; for the rest of us, there’s no denying this star-studded, never-a-dull-moment cinematic oddity represents another flawed but fascinating reframing of man’s place in the modern world.
  4. Queen of the Desert
    Herzog’s script loses its way in the desert at one point, dutifully chronicling a life whose principal conflicts are a bit too abstract to dramatize. In the end, it’s not clear what’s driving Bell, nor what’s holding her back.
  5. Mr. Holmes
    The more vital subject of Mr. Holmes turns out to be our need for stories themselves and, in particular, the role of fiction as an escape from the pain and loss of everyday life.
  6. 5 to 7
    Courageously sentimental in an age of irony, Victor Levin’s refreshingly articulate 5 to 7 delivers romance of the sort thought lost since the days of Audrey Hepburn, for those who appreciate such finery.
  7. Ballet 422
    The documentary moves with the same fluidity that characterizes Peck’s choreography.
  8. 3 Nights in the Desert
    The characters, situations and dialogue too seldom escape cliche in Gabriel Cowan’s watchable but unmemorable feature.
  9. McFarland USA
    A rare studio entertainment featuring a largely Latino ensemble, yet necessarily fronted by a big-name draw like Costner, McFarland, USA feels at once mildly progressive and unavoidably retrograde.
  10. 1971
    The film offers surprisingly cogent, lived-in evocations of a period too often glossed over in impersonal, by-the-book montages.
  11. Entertainment
    Take it or leave it, Alverson’s fourth feature is singular stuff, and it reconfirms the director as one of the truly bold voices in the all-too-homogenous U.S. indie film scene.
  12. Dreamcatcher
    Conventionally constructed but remarkable for the honest, intimate rapport it achieves with highly vulnerable human subjects.
  13. Jupiter Ascending
    While the Wachowskis have always put their greatest emphasis on aesthetics, they allow the visual impulse to get the best of them here, investing so much attention in creating unique fashions, technology, architecture and design that they’ve blinded themselves to the huge logical gaps in their own story.
  14. Going Clear: Scientology and the Prison of Belief
    For Scientologists, going clear refers to a coveted status awarded to those who have completed a certain level of auditing. But for the men and women on screen here, it means something else: reclaiming their own voices and demanding to be heard.
  15. Don Verdean
    The expected satire of religious gullibility and charlatanism proves toothless; worse, a cast of very funny people is given very little funny to do.
  16. Best of Enemies
    Both fascinating as a glimpse at the not so distant past, and provocative as an account of what arguably was an early step in the decline of political discourse on television.
  17. Digging for Fire
    A lovely slice of everything and nothing.
  18. The Loft
    The five leads earn kudos for their ability to come across as something approaching credible.
  19. I Smile Back
    What propels the film forcefully along is Silverman, who pulls us down so deeply inside Laney’s sickness that everything else seems to fade away (much as it does in the character’s own life).
  20. Knock Knock
    [A] glossy and reasonably fun update of Peter Traynor’s 1977 exploitation movie “Death Game.”
  21. Last Days in the Desert
    Deliberately paced, sparely imagined and suffused with mystery, writer-director Rodrigo Garcia’s seventh feature is nonetheless quite lucid and accessible in its themes of empathy, compassion and sacrifice, and grounded by a Christ/Satan dual performance by Ewan McGregor that plays vastly better onscreen than it sounds on paper.
  22. People Places Things
    For a film with one eye on messy, real emotions, People, Places, Things undercuts itself with goofy humor.
  23. The Stanford Prison Experiment
    The problem is not that this film is upsetting (it should be), but that it ultimately seems more interested, and skilled, at dispensing regular shocks than fresh insights.
  24. Sleeping with Other People
    Headland demonstrated little interest in playing it safe with her previous film... But here she reins in that impulse almost too much, and Sleeping With Other People winds up both looking (with its adequate but unremarkable tech package) and often feeling like a run-of-the-mill studio comedy.
  25. Results
    Once he’s worked through the basic set-up, Bujalski puts the plot on the back burner and lets his characters collide and ricochet off one another with a laconic comic grace.
  26. The Overnight
    The Overnight invites the audience to keep guessing exactly who is seducing whom, and exactly where the temptations will lead, right up to its final few beats. Barely hitting 70 minutes before the credit crawl, this comedy successfully achieves a climax of its own that is equal parts exciting and frustrating.
  27. Nasty Baby
    Silva assembles a loosely scripted, raucously nonconformist laffer that looks like it’s going one way, only to arrive somewhere else entirely — a change of heart that’s not at all to the advantage of a film.
  28. Mistress America
    If nothing else, Mistress America confirms Gerwig as one of the great, fearless screen comediennes of her generation — a tall, loose-limbed whirligig who careers through scenes with the beatific ditziness of a Carole Lombard or Judy Holliday.
  29. Brooklyn
    A robust romantic drama, rich in history and full of emotion, Brooklyn fills a niche in which the studios once specialized, using a well-read and respected novel as the grounds for a tenderly observed tearjerker.
  30. Stockholm, Pennsylvania
    From its opening scene, the film feels desaturated and airless, as if the intrusion of energy or color might upset the characters’ delicate task of healing.
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