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. Brightest Star, has all the trappings of a contemporary romantic comedy, but also the good sense to strive for a deeper examination of a young man’s search for his place in the universe.
  2. The four leads are nothing if not game, and actually earn respect, along with a fair amount of sympathy, for their uninhibited willingness to go to extremes. But there are limits to what they can do to dispel the overall sense of mounting desperation as the gross-out tomfoolery grows ever more tedious.
  3. Adam Rodgers’ debut feature is a painless enough diversion, but novel ideas and humor beyond mild chuckles are in scant supply.
  4. Clooney has transformed a fascinating true-life tale into an exceedingly dull and dreary caper pic cum art-appreciation seminar — a museum-piece movie about museum people.
  5. This tonally all-over-the-place drama fails to convince.
  6. The pic falls well short of its efforts to combine the raucous vulgarity of the “Hangover” movies with Cameron Crowe-ish depth of feeling.
  7. Happy Christmas desperately needs some real jokes, rather than settling for the bemused chuckles that accompany its banal observations into human nature.
  8. Rossato-Bennett’s over-the-top narration often sounds cloying and banal... But the filmmaker succeeds in providing context, medical and historical, in between awakenings.
  9. The pic nicely straddles a line between Sosa’s private and public personas, never quite delving deep although Vila covers all the bases.
  10. Everything about the three principal teens registers as deserving of “human interest” to Rich Hill’s two helmers, whose generous attitude draws us into this deeply empathetic film.
  11. This is neither an indictment nor an endorsement but simply a refreshing departure from the combative tone of contemporary politics and political coverage.
  12. The result is unquestionably an auteur film, but one festooned with so many bad and unnecessary ideas that one can’t help wondering if a more modest, hemmed-in version of the same project might not have proved more effective.
  13. It’s naughty, campy and wildly uneven.
  14. Now and then, Winterbottom nudges the movie in the direction of narrative... But even when it’s just ambling about, The Trip to Italy casts a warm, enveloping spell.
  15. A lively comic jamboree that’s sometimes smarter than it is funny and hits about as often as it misses, but is, on balance, a good deal of fun.
  16. Perhaps the cleverest thing about Barker-Froyland’s delicately contrived debut is how uncontrived she manages to make it seem.
    • 74 Metascore
    • 80 Critic Score
    Sibling bonds are fertile territory for indie dramedies, but The Skeleton Twins distinguishes itself from the pack with a pair of knockout performances from “Saturday Night Live” veterans Bill Hader and Kristen Wiig.
  17. Lensed with a complete absence of frills that perfectly suits its honest, unvarnished tone, The Overnighters presents an indelible snapshot of a despairing moment in American history, as men abandon homes, families and dreams to stake their claim in an ever-shrinking land of opportunity.
  18. It’s a familiar story of music-world success, failure and addiction, admirably but unevenly told by first-time feature director Jeff Preiss, who certainly knows the music and the milieu, but proves less adept at shaping the material into a consistently compelling narrative.
  19. Love Is Strange never feels anything less than authentic, like a true story shared by close friends.
  20. James cuts — as in all of his best work — straight to the human heart of the matter, celebrating both the writer and the man, the one inseparable from the other, largely in Ebert’s own words.
  21. What gives the story its moment-to-moment buoyancy is the pleasure of watching two actors working brilliantly in tandem.
  22. If the narrative progression feels too tidy and circumscribed, Shelton’s talent for bringing out the best in her actors remains satisfyingly intact.
  23. At every turn, we can sense what’s going on behind Kumiko’s doleful, downcast eyes; Kikuchi pulls us deeply into her world.
  24. Forbes brings a marvelous warmth and specificity to this story of a mixed-race family struggling to survive, aided considerably by one of Mark Ruffalo’s richest, most appealing performances.
  25. Even in moments that don’t ring entirely true, Boyega’s grounded performance keeps the film headed in the right direction.
  26. Using Baltimore’s dirt-bike groups as its entry point, the film offers a remarkable grassroots look at how the system is broken at the inner-city level.
  27. The film amounts to a lousy sort of magic show, schematically pulling strings to prove its own points.
  28. Camp X-Ray is most commendable for believably depicting the U.S. military from a female’s point of view.
  29. With Boyhood, Linklater has created an uncanny time capsule, inviting auds to relive their own upbringing through a series of artificial memories pressed like flowers between the pages of a family photo album.

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