Variety's Scores

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For 17,782 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:
  1. Positive: 9,136 out of 17782
  2. Mixed: 7,010 out of 17782
  3. Negative: 1,636 out of 17782
17782 movie reviews
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  1. Lean on Pete
    It’s frustrating to watch, but designed in such a way that the boy’s loneliness will haunt long afterward.
  2. Love After Love
    Bolstered by superb lead turns from Chris O’Dowd and Andie MacDowell, as well as a formal structure that enhances the roiling emotions propelling its characters into a downward spiral, Love After Love is an assured debut feature that announces its writer-director as a formidable new American indie voice
  3. The Last Movie Star
    Despite a few good moments, this well-intentioned seriocomedy mostly wobbles between crude yocks, lame generation-gap humor and sentimental cliche.
  4. The Death of Stalin
    Though sporadically brilliant, this too-often uneven send-up of Russian politics attempts to maintain the rapid-fire, semi-improvisational style of Iannucci’s earlier work...while situating such madness within an elaborately costumed and production-designed period milieu.
  5. Itzhak
    Good music and good company make “Itzhak” a pleasure, though those seeking a methodical career overview should look elsewhere than this genial personality sketch of the world-famous violinist.
  6. Did You Wonder Who Fired the Gun?
    Wilkerson doesn’t mean to suggest ambiguity with his title, since no one questions the identity of the culprit, but it is regrettably indicative of his naval-gazing focus on family skeletons, combined with a deeply annoying tendency to sensationalize the obvious.
  7. Mom and Dad
    Though sure to be distasteful for some viewers even to ponder, this giddy exercise transcends mere bad-taste humor to become one of the great jet-black comedies about suburbia.
  8. The Insult
    Toward the end, Doueiri attempts to give his two leads a little more nuance, but Tony’s overwhelming anger steamrolls over occasional conciliatory behavior, which winds up feeling just manipulative.
  9. Film Stars Don't Die in Liverpool
    Over-production-designed as the film is, Bening and Bell manage to hold their own within it.
  10. Hostiles
    Though it basically argues that the surest way to overcome racism is to spend some time getting to know “the other,” Cooper’s film offers audiences no such opportunity, depriving its native characters of so much as a single scene in which they are treated as anything more than abstract plot devices in service of the white folks’ enlightenment.
  11. Foxtrot
    Brilliantly constructed with a visual audacity that serves the subject rather than the other way around, this is award-winning filmmaking on a fearless level.
  12. I, Tonya
    It’s a serious blast, with a plot that zigs and zags (but only because it sticks, within reason, to the facts), and a cast of characters who are so eccentrically scuzzy that maybe no one could have dreamed them up.
  13. Give Me Future
    Somewhere buried beneath Peters’ new-day-rising clichés and superficial celebration of electronica stars, there’s an intriguing documentary about Cuba’s transformation struggling to break free.
  14. My Friend Dahmer
    As you watch the movie, its central idea — that Jeffrey Dahmer wasn’t just born, he was made; that he started off as an actual human being — has a shocking validity that never undercuts the extremity of his crimes.
  15. Brawl in Cell Block 99
    It’s the rare movie that truly evokes the grindhouse ’70s, because it means everything it’s doing. It’s exploitation made with vicious sincerity.
  16. Hong Kong Trilogy: Preschooled Preoccupied Preposterous
    The main problem with “Hong Kong Trilogy” is that it over-promises and under-delivers.
  17. England Is Mine
    England Is Mine is fussy and prudish — about erotic longing, and about the rock ‘n’ roll that gives form to it.
  18. The Small Town (Kasaba)
    A remarkable first feature from director Nuri Bilge Ceylan, The Town is a strikingly original, vibrantly sensitive look at an extended family living in a remote Turkish village.
  19. All the Boys Love Mandy Lane
    A partly smart, mostly dumb addition to the teen horror sweepstakes -- smart in how it neatly catches the petty, hurtful, sexy and druggy aspects of high school life, dumb in how it makes absolutely no sense once its resolution is known.
  20. Rhino Season
    Burdened with a complex flashback structure and an unemotional core, this multi-decade saga of an imprisoned Iranian poet and his family has surprisingly little resonance.
  21. The Wild Hunt
    Those wearing black finger-polish are bound to appreciate it, but first-time feature director Alexandre Franchi deserves mainstream cred for his own cheeky role-play.
  22. RED
    Only a curmudgeon could entirely resist the laid-back charms of Red, an amusing, light-footed caper about a team of aging CIA veterans rudely forced out of retirement.
  23. Down Terrace
    Cleverly channeling gangster tropes through a British kitchen-sink soap opera, TV scribe-helmer Ben Wheatley has concocted a nifty black comedy, with a little help from his friends, in Down Terrace.
  24. Jackass 3-D
    A joyous, liberated approach to comedy, a genuine sense of the grotesque and pacing so relentless that even the less-than-uproarious bits don't overstay their welcome.
  25. Carlos
    Bravura narrative filmmaking on a hugely ambitious scale, Carlos is a spectacular achievement.
    • 75 Metascore
    • 70 Critic Score
    Samson and Delilah
    An engrossing and touching snapshot of an Australia too often left on the cutting-room floor.
  27. The Four-Faced Liar
    It's more likely to serve as a calling card than a breakthrough for any of the parties involved.
  28. Secretariat
    Conventional but rousingly effective picture.
  29. I Spit on Your Grave
    Its straight-ahead rape, humiliation and ingenious revenge competently executed but not aestheticized, the essential grunginess never overly slicked up.
  30. It's Kind of a Funny Story
    The filmmakers fully retain their offbeat sensibility and attentiveness to character while providing perhaps the sharpest showcase yet for Zach Galifianakis' outsized talents.
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