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’s a tale that was once thrilling, but the thrills seem to have evaporated.
  2. A low-budget potboiler with an overblown score not loud enough to drown out the hackneyed dialogue.
  3. The critters look cute, but behave less so, while the competing-heists concept never quite takes off.
  4. The timidly plotted proceedings never veer from romantic-comedy formula. There’s a whole lot of talk and very little action here, and not just because the squeaky-clean pic wears its PG rating like a badge of honor.
  5. As a narrative, “Evangelion 3.0″ may make you feel your brain is turning into goat cheese. As a showcase for pure visual ingenuity and splendor, though, it rocks.
  6. The term “freewheeling” does not begin to describe the slapdash, anything-goes quality of the screenplay co-written by Troma mogul Kaufman.
  7. A modestly inventive but curiously bloodless version of the Bard’s timeless tragedy.
  8. Lutz’s acting muscles aren’t nearly as well developed as his pectorals and deltoids, and while the role may not call for a master thespian, it at least begs someone who can emote without looking like he’s straining to execute a dead lift.
  9. A bittersweet ending offers both victory and defeat, but closes on a note of hard-won optimism.
  10. After a decent if formulaic setup, the story bogs down in dull midsection intrigue, and helmer Jonathan Newman doesn’t deliver as much excitement as expected in the climactic stretch.
  11. A capably assembled if ultimately unremarkable thriller.
  12. Raze is a brutally monotonous fight-to-the-death-contest actioner whose novelty element — all-female competitors — is undermined by lack of imagination on every other level.
  13. Loves Her Gun ultimately doesn’t quite cohere as one part slackerish social observation in a nicely turned mumblecore mode, and one part cautionary psychological thriller about the dangers of treating fear with a loaded weapon.
  14. Proving the “Paranormal Activity” formula can still work when used with canny restraint, Erickson achieves good results with long, eerie found-footage takes that end in jolts.
  15. Morrison has always closely collaborated with musicians, but here the helmer goes one better, making music the ultimate product of the Great Flood.
  16. The Japanese action aesthete plays it cool and smooth in a picture that exerts a steadily tightening grip, though not until after a first hour of near-impenetrable gangster gab that may leave the uninitiated feeling stranded.
  17. Tyro helmer Park Hong-soo handles wall-to-wall action, political intrigue and adolescent love with a relentless efficiency that befits his protagonist, even if the execution can feel as methodical as that of a killer checking off a hit list.
  18. Genially cartoonish but also rather sweet.
  19. The haunted house setpieces provide reliable doses of jolts, even if one can see the scaffolding of each scare being built from miles away, and director Landon has fun with some clever camera placement here and there.
  20. Despite retaining the basic narrative architecture of its classic source, Hollywood Seagull too often feels like a trite, sudsy take on privilege, ambition and angst among showbiz players and wannabes — one that seemingly exists mostly to showcase real-life C-listers, aspirants and pals in the tradition of Henry Jaglom’s films.
  21. The film comprises an impressive directorial debut for Adler who demonstrates a confident grasp of pace, place and thesp handling.
  22. A slickly entertaining piece of work that will doubtless delight the young pop star’s fan base, and possibly engage curiosity-seekers who have heretofore remained immune or indifferent to Bieber Fever.
  23. Pavich does an admirable job tracking down surviving parties (except for the suspicious-sounding cast), opting for a humorous rather than indignant tone to the interviews.
  24. Essentially recasting “Grumpy Old Men” with the senescent specters of Rocky Balboa and Jake LaMotta, the result is sporadically amusing, with some chucklesome sight gags and crowdpleasing supporting turns from Alan Arkin and Kevin Hart, yet it’s all so overcooked that it defeats its own purpose.
  25. Mordaunt previously directed a docu in Laos that featured kids who sold unexploded bombs for scrap metal, and that earlier experience invests this feature’s characters and milieu with an absolute integrity.
  26. A partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo.
  27. Aiming for a Hitchcockian take on an eccentric auctioneer (well-handled by Geoffrey Rush) who becomes enamored of an heiress with severe agoraphobia, the pic ends up more in Dan Brown territory, with over-obvious setups and phony insight into the art establishment.
  28. As impressive as these visual elements prove to be, the film struggles to grab and maintain audiences’ interest, whether or not they know the underlying legend by heart.
  29. Hoogendijk has created an artifact that, while not exactly elegant, 400 years hence may prove as vital a window into Amsterdam culture as any of the Dutch masterpieces hanging in the museum itself.
  30. At their best, the lush yet punchy musical numbers that Acharya stages for Dhoom: 3 reach giddy heights of pop romanticism.

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