Variety's Scores

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For 17,757 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: 9,120 out of 17757
  2. Mixed: 7,002 out of 17757
  3. Negative: 1,635 out of 17757
17757 movie reviews
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  1. The Other Way Around
    Trueba has drawn a funny little valentine, shot through by a bright, sharp arrow of feeling.
  2. The Most Precious of Cargoes
    Director Michel Hazanavicius finds a poignant way to address not only the horrors of the Holocaust, but the kindness that combated it, crafting an indelible parable destined to be watched and shared by generations to come.
  3. The Seed of the Sacred Fig
    The situation Rasoulof depicts is hardly limited to Iran. There are echoes of Nazi Germany and modern-day China in the way average citizens submit, while the pressures to inform on one’s neighbors recall pre-perestroika Soviet policies. Rasoulof’s genius comes in focusing on how this dynamic plays out within a family, which makes it personal.
  4. Beating Hearts
    Beating Hearts never bores, least of all when François Civil and the ever-electric Adèle Exarchopoulos take over as the young lovers’ adult (but far from grown-up) incarnations, while the consistent, cartwheeling kineticism with which Lellouche and DP Laurent Tangy shoot the whole thing is an ongoing rush.
  5. All We Imagine as Light
    Just two features into her young career, Kapadia has established her rare talent for finding passages of exquisite poetry within the banal blank verse of everyday Indian life.
  6. Marcello Mio
    Marcello Mio winds up saying very little about industry power structures, or even about the barbed nature of celebrity.
  7. Atlas
    Atlas is predictable, overlong and bland, the kind of experience it’s hard to get excited about when the star player seems to be perfunctorily running the bases.
  8. Queen of the Deuce
    Psychotronic cinema fans may wish Queen of the Deuce spent more time on her celluloid stomping ground, and a bit less on family ties. Still, she did have a fascinating backstory, and surviving relatives’ (as well as some colleagues’) reminiscences are colorful.
  9. Motel Destino
    As an erotic thriller, it’s more preoccupied with the first half of that term than the second, and that’s just fine.
  10. Armand
    The movie, while elegantly photographed, is mostly a shambles. It keeps throwing things at you in an oblique and random way, and it’s constructed like a puzzle with no solution.
  11. Grand Tour
    But for anyone feeling a pessimism creeping in like slow poison and taking the edge off any appetite for adventure, Portuguese singularity Miguel Gomes comes like a comet across the Cannes competition with “Grand Tour,” an enchanting, enlivening, era-spanning, continent-crossing travelogue that runs the very serious risk of infecting you with the antidote: a potent dose of wanderlust-for-life.
  12. Rumours
    The massed foibles and outright idiocies of the seven principals — all sharp individual comic creations, but collectively a devastating hot-air hydra of enfeebled contemporary democracy — add up to a frustrated protest against our elected elite fiddling while Rome (or the planet, rather) burns, offering mealy-mouthed sentiments that gesture toward coordinated action without ever getting there.
  13. Limonov: The Ballad
    Given all its omissions and elisions, and the sense of coolness-cosplay that permeates this noisy but lifeless film, “Limonov” might not be a total misapprehension of the mercurial, charismatic and infuriating Eduard Limonov, but it is at least a mispronunciation.
  14. Eephus
    Its pearls of practical wisdom and jewels of melancholic wit make Eephus a gem, which is fitting, for a movie about a game played on a diamond.
  15. Christmas Eve in Miller's Point
    Tyler Taormina‘s delightful stocking-stuffer Christmas Eve in Miller’s Point is as alive to the domesticated magic of the season as a classic carol.
  16. The Balconettes
    The directorial energy being channelled here is closer to that of early Pedro Almodóvar, as Merlant piles up saturated, hot-hued melodrama, garrulous female bonding and cheerful lashings of blood and sex.
  17. Parthenope
    Parthenope is a film that rumbles with the hum of nostalgia, recapturing the feeling of youthful, summer freedom while refusing to shy away from the uncertainties of young adulthood. But it’s no mere coming-of-age story; rather, it’s a film about coming-to-oneself.
  18. Anora
    Baker’s subversively romantic, free-wheeling sex farce makes "Pretty Woman" look like a Disney movie.
  19. The Shrouds
    As The Shrouds goes on, it becomes more earnest and more nutty. I think Cronenberg thinks he’s making movies that audiences will experience as feature-length versions of his own dreams. Here’s the difference: When you’re in a dream, you believe what’s happening.
  20. The Apprentice
    For its first half, “The Apprentice” is kind of a knockout: the inside look at how Trump evolved that so many of us have imagined for so long, and seeing it play out is both convincing and riveting. Yet I have an issue with the movie, and it all pivots around the mystery of Trump. I don’t think “The Apprentice” ever penetrates it.
    • Variety
      • Posted May 20, 2024
  21. Emilia Pérez
    Audiard wonders how much people really change when they transition. In Emilia’s case, less than she’d like, but enough to inspire positive change in society.
  22. The Substance
    The Substance is the work of a filmmaker with a vision. She’s got something primal to say to us.
  23. The Garfield Movie
    It’s a Garfield movie for audiences who have never heard of Garfield, which reads as an attempt at erasing history and reintroducing him in this high-octane, overly stimulated form for a generation with reduced attention spans.
  24. Horizon: An American Saga - Chapter 1
    There’s a hallowed place in cinema for multi-character dramas. But “Horizon,” simply put, doesn’t feel like a movie. It feels like the seedbed for a miniseries. Much of what happens is wispy and not very forceful; the film doesn’t build in impact, and it seldom seems to aim in a clear direction.
  25. Caught by the Tides
    Jia’s risky experiment is so uncannily successful that it is possible to come away from “Tides” with the whimsical impression that this was the film he was building toward all this time, as though all those lauded previous movies were simply him amassing the raw material for this one.
  26. The Surfer
    The film is trying for something, but it’s also sketchy in the extreme.
  27. Oh, Canada
    Oh, Canada presents a dying artist’s final testimony as a multifaceted film-within-a-film, honoring Banks while also revealing so many of Schrader’s own thoughts on mortality.
  28. The Damned
    The Damned has a tendency to meander, but in so doing, it strives toward something authentic.
  29. Three Kilometres to the End of the World
    For all its cool, compelling proficiency, there’s little about the film that feels idiosyncratic, either stylistically or in its surface-level human portraiture.
  30. When the Light Breaks
    Rúnarsson’s film eschews easy melodrama for a more tacit, sensory exploration of the sudden connections that death forges among the living. The future waits in limbo; simply getting through the day is drama enough.
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