Variety's Scores

For 17,777 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 2.4 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:
17777 movie reviews
  1. Ultimately, "Renee" feels less like a walk away than a retread.
  2. Shifting between individual suffering (performed, not felt) and extended political and business deliberations, the picture displays its budget but not its heart.
  3. A highly satisfying Western-cum-noir in the old tradition, Deadfall is alive in ways that are all too rare among American movies.
  4. This engaging character study functions best as a two-hander: The male leads build a wholly believable, offbeat co-dependency, while their interactions with others tend toward the more generic.
  5. In the central role, first-time feature helmer Alexander Poe may trigger sheepish identification among the neurotic with the protag's vaguely ridiculous reactions. While his character registers as white-bread bland, strong performances from the two "exes" save this indie from a surfeit of self-deprecating charm.
  6. An energetic but utterly weightless exercise in slice-and-dice cinema. This sequel to 2009 chiller "The Collector" is in many ways bigger (more characters, more locations, more carnage), but in no way better than its predecessor.
  7. Revelatory for the disabled and entertaining for the rest of us.
  8. Colburn's focus is so single-mindedly laudatory that the whole collaborative process is reduced to people either helping or hindering the visiting genius.
  9. Far more ambitious than "The Hurt Locker," yet nowhere near so tripwire-tense, this procedure-driven, decade-spanning docudrama nevertheless rivets for most of its running time.
  10. When a documentary begins with its subject using his crutch to deliver a vicious blow to the director's nose, it's reasonably safe to expect less-than-smooth sailing ahead.
  11. Amy Berg's clear, captivating, indignant film carves out its own significant place in criminal-justice cinema, makes new and startling revelations into the triple-murder mystery, and is visually spectacular to boot.
  12. A former rock 'n' roller withers on the vine in California Solo, Marshall Lewy's forgettable sophomore effort (after a promising beginning with "Blue State").
  13. A modestly affecting reconciliation drama wrapped in a so-so sports movie by way of a misogynistic romantic comedy, Playing for Keeps can't stop tripping all over itself.
  14. Even by the freewheeling, mood-swinging standards of Bollywood, the pronounced disparity between the pre- and post-intermission halves of Jab tak hai jaan is more than a tad jarring. Indeed, viewers may feel they've been treated to an oddly matched double bill -- a delightfully vivacious romantic dramedy, followed by an Old Hollywood sort of psychological melodrama.
  15. Mixing a breathtaking array of archival materials with new talking-head interviews, the film analyzes the monumental miscarriage of justice repped by the 1989 Central Park Jogger case.
  16. The film, produced by Cherney, makes a clear and cogent case (later upheld by a court verdict) that police and FBI falsified evidence in order to discredit Bari's cause.
  17. The sins of the fathers have seldom weighed so heavy as in the odd, intriguing and ultimately moving Hitler's Children.
  18. Imamura's square-framed, black-and-white imagery, in all its various stylistic incarnations, proves as compelling through the docu's myriad detours as in any of his better-known psychological thrillers.
  19. Even tots may emerge feeling slightly browbeaten by this colorful, strenuous and hyperactive fantasy, which has moments of charm and beauty but often resembles an exploding toy factory rather than a work of honest enchantment.
  20. The 13 women, all born or made New Yorkers -- all born or made women -- of various ages, shapes, sizes and backgrounds, lose none of their mystique by being captured "behind the scenes," traipsing through airports or meticulously applying weird makeup. Rather, they reveal themselves as more conscious, integral parts of a spectacle that unfolds to hypnotic effect.
  21. Considering that many will regard child boxing as inappropriate, at the very least, the documentary invites criticism by choosing not to include any voices of dissent or analysis of the sport within a broader social and cultural context.
  22. An uncommonly engrossing and articulate documentary.
  23. Part 2 has the bonus of a livelier Stewart performance than fans have been accustomed to. No longer a mopey, lower-lip-biting emo girl, this Bella is twitchy, feral, formidable and fully energized, a goddess even among her exalted bloodsucker brethren.
  24. A raggedy but refreshing yarn about the near-terminal condition known as male adolescence.
  25. After a strong start, the picture itself has trouble checking out, but it provides a terrific showcase for indie princess Posey, leading a topnotch cast.
  26. Hitchcock is a diverting but dramatically insipid account of how the Master of Suspense took his biggest gamble and delivered his greatest success with "Psycho."
  27. Considering Haneke's confrontational past, this poignantly acted, uncommonly tender two-hander makes a doubly powerful statement about man's capacity for dignity and sensitivity when confronted with the inevitable cruelty of nature.
  28. Complex story twists unfold to confusing effect, while characters angrily toss cliches at one another and revelations multiply rather than resolve murky plot developments.
  29. An unnerving home-invasion thriller, In Their Skin has narrative bones we've certainly seen before, bearing perhaps the closest resemblance to Michael Haneke's two versions of "Funny Games." Nonetheless, the same simple premise achieves full creepy impact here without succumbing to cheap genre thrills or cool arthouse abstraction.
  30. Standout perfs by Bernadette Peters as an aging diva and Rachel Brosnahan as her solicitous 15-year-old daughter are the only reasons to see Lisa Albright's Coming Up Roses, a tired '80s-set meller hobbled by lackluster helming and an unconvincing script.

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