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. Ladies are gonna love Magic Mike, a lively male-stripper meller inspired by Channing Tatum's late-teen, pre-screen stint as an exotic dancer.
  2. Despite a few tonal and structural missteps, this intelligent, perceptive drama proves as intimately and gratifyingly femme-focused as Polley's 2006 debut, "Away From Her."
  3. Ted
    A predictably irreverent satire that's sweeter and, sadly, less funny than you might expect.
  4. A stunning debut that finds its dandelion-haired heroine fighting rising tides and fantastic creatures in a mythic battle against modernity.
  5. Although Martin Sheen often goes full cherub in his depiction of the film's central Catholic priest, the pictue is also a frank assessment of a cleric's crisis of faith and the church's rather ruthless efforts to maintain medieval control in the face of modernization.
  6. A Civil War-era actioner of questionable taste and historical accuracy but surprisingly consistent entertainment value.
  7. Moving, engagingly low-key curio.
  8. The end of the world can't come fast enough in Seeking a Friend for the End of the World, a disastrously dull take on the disaster-movie formula.
  9. Gets one's attention but doesn't keep it, due to ill-cued flashbacks, groan-inducing dialogue and wooden performances.
  10. This pleasantly diverting, none-too-strenuous arthouse excursion feels like a throwback to Allen's short-story anthologies, with the added pleasure of seeing a game cast play along.
  11. If they never fully sell the situation, the actors nonetheless deliver strong, emotionally accessible work.
  12. An aptly infuriating expose of sexual abuse within the U.S. military, Kirby Dick's documentary The Invisible War calls high-ranking officials to account for turning a blind eye to a violent epidemic.
  13. Director Baget clearly strives to replicate the ersatz Dixie flavors of "O Brother, Where Art Thou?" right down to the vintage '30s music in a film set in the 1970s, but nailing the Coen brothers' precisely calibrated style is far harder than it looks.
  14. The rush of watching images made in such rare locales as Andorra and Sao Tome quickly wears thin as the montage whips through considerably meaty topics (water issues, climate change, immigration, religious faith) like an impatient Web surfer.
  15. Though generally engrossing, Ikland's multiscreen displays and cross-cultural theatrical experiments prove more distracting than effective.
  16. Offers diverting date-night fare for open-minded heterosexual couples and swingers, though its superiority (artistic or otherwise) to actual porn is debatable.
  17. All in all, it could have been worse. Puerile, crotch-fixated and very occasionally, inanely funny, Adam Sandler's raunchiest star vehicle in years has a small saving grace in Andy Samberg's performance.
  18. Though Demy's approach breaks no new ground, directorially speaking, Martin's personal journey finds a fresh angle on a universal piece of wisdom. Every mother's son believes he's the star of his own life; Americano captures that humbling moment where one realizes perhaps he has only been a bit player in his parents' story, not the star, as initially believed.
  19. An intelligent overview that makes a radical artist's work comprehensible to audiences with no previous awareness of her or her chosen path.
  20. Brave offers a tougher, more self-reliant heroine for an era in which princes aren't so charming, set in a sumptuously detailed Scottish environment where her spirit blazes bright as her fiery red hair.
  21. Effortlessly entertaining.
  22. Results are offbeat and amusing, but also a bit thin as the whole essentially amounts to one long shaggy-dog joke.
  23. Absent the infectious live-audience energy of Chris D'Arienzo's legit hit, this affectionate glam-rock-a-thon reps a visually bland staging of frankly insipid material, never tapping into the raucous, go-for-broke energy that would spin the show's cliches into gold, let alone platinum.
  24. A picture so thoroughly generic as to suggest a contraption assembled from spare parts with the aid of a how-to manual.
  25. Ensemble is sharp, although Adams and Dave Foley (as an obnoxious gallery owner) make more caricatured impressions.
  26. OC87 serves both its subject and its viewers well by chronicling a process that is actually insightful, entertaining and apparently successful.
  27. Result is far less abrasive than some of its predecessors, but for that very reason seems unlikely to generate the attention needed to meet Solondz's already modest commercial standards.
  28. A wise and impeccably controlled drama that finds Russian helmer Andrei Zvyagintsev in outstanding form.
  29. An engrossing and satisfying picture, one that can be enjoyed even by people who have never before heard of its subject.
  30. Rohrwacher's picture offers a Dardennes-esque look at a working-class teen's growing pains in a backwater parish in southern Italy. Minor tonal inconsistencies are overcome by this intimate tale's naturalistic thesping and loose lensing style.

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