Variety's Scores

For 17,791 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:
17791 movie reviews
  1. Hapless, laughless movie.
  2. Without the technical nastiness and fatal realism that made the initial film so compelling, the remake feels like a hollow excuse to present the myriad ways in which a bullet can pierce a cranium, rather than an edgy portrait of Third World violence.
  3. A fine drama that stands as Gallic vet Claude Miller's best in at least a decade.
  4. Although guided by considerable empathy toward its small circle of kinfolk eking out a living in southern Texas, Eska's tale of a woman's unconditional support of her father-in-law is told with a faux-poetic sensibility that never really connects with his characters' lives.
  5. Smith's utterly natural filmmaking there is impressive.
  6. A noisier, costlier version of "Children of Men," yet lacking that film's social-political significance and jaw-dropping direction.
  7. A virtual primer on the unique mixture of self-deprecating dark humor and personal tragedy that has been the Czech cinema's stock-in-trade since their celebrated 1960s New Wave.
  8. Basic joke wears off after five minutes, and many bystanders will start to head out of town. But genre/Asian buffs prepared to ride shotgun for two hours will be rewarded with some classy action sequences and densely accoutred widescreen lensing.
  9. Uneven but not unpleasant.
  10. Hardly superbad, but sorta OK.
  11. Seldom has a pic been more appropriately titled than Disaster Movie, yet another frantically unfunny free-form farce.
  12. The rags-to-near-riches saga of "Goal!" has turned into a risible riches-are-awful tale in Goal II: Living the Dream.
  13. Culture shock often proves the stuff of comedy, but the sight of a silver-studded, sombrero-topped mariachi band breaking into a rousing rendition of "Hava Nagila" transports diversity into the realm of the surreal.
  14. That the film is animated gives it an appropriately magical feel, but it can't save the story from being drowned in devices and stereotype.
  15. Brandishes physical verisimilitude and intelligent seriousness but proves unable to really get inside its chameleon-like central character.
  16. As hard as metal and just as dumb, Paul W.S. Anderson's Death Race couldn't be further from producer Roger Corman and director Paul Bartel's goofy, bloody 1975 original, "Death Race 2000."
  17. A blissfully broad comedy that should catapult Anna Faris into a singular kind of stardom.
  18. While The Longshots is by no means an unpleasant experience, it feels like a project carried out by people who began with the best of intentions but weren't quite able to sustain their initial enthusiasm.
  19. Amusing but unevenly inspired tale of a deluded high school drama teacher's attempt to stage a career-saving extravaganza has some laughs, to be sure.
  20. The acting is so emotionally unhinged and erratic it borders on camp, diluting any suspense.
  21. Though tinged with the sheer gumption and personal resolve of amateur vidmaker and would-be rapper Kimberly Roberts, this is ultimately a minor doc contribution to the bulging library of Katrina-related films and TV reports.
  22. Highly informative documentary reps a heady mix of charts, graphs and talking heads... superb packaging and timely subject matter.
  23. Wryly comic, sometimes heartbreaking and altogether original film about a thirtysomething Angeleno who pays a visit to his aging New York parents and finds himself unwilling or unable to leave.
  24. Wilson makes the most of it in this well-crafted, feel-good satire.
  25. This isn't the Star Wars we've always known and at least sometimes loved.
  26. Offers potent romantic fantasy elements for men and women and a cast that should produce the best commercial returns for a Woody Allen film since "Match Point."
  27. It’s a wingless exercise, despite a rather heartening attitude toward space travel that will introduce young auds to the glory that was NASA in the '60s.
  28. Softcore horror at best, failed allegory at worst, Mirrors reflects little beyond Splat Pack auteur Alexandre Aja's desire to push his genre into less punishing and more profitable territory.
  29. Indie effort evidences more energy than wit, and spends too much time on set-up before a slam-bang pay-off.
  30. Picture's tendency to lecture on the power of faith and religion and on the demerits of science seems to assume an almost childlike audience that needs to be spoon-fed Pablum.

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