Variety's Scores

For 17,771 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 2.5 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:
17771 movie reviews
    • tbd Metascore
    • 100 Critic Score
    Words can't do justice to the visual masterpiece Baraka.
  1. Never really busts out of second gear.
  2. There's no shortage of disaster stories in the history of film production, but none have been recorded with such frankness, immediacy and aching sense of disappointment.
  3. A generally entertaining but rather old-fashioned romantic comedy.
  4. Suffers from the same rancid dialogue and acting problems as the original but with a much funnier pulse. The real progenitor here is less the previous pic than the sick-funny horror cinema of George Romero.
  5. The whole picture may be hokey, but the first part is agreeably so, the second part not. At the very least, one comes away with a new appreciation of the difficulty of inner-office romance at the CIA.
  6. Well-acted, sharp-looking pic seems more interested in sitcom diversions.
  7. A breathlessly involving tale of urban indifference, rampant hypocrisy and the difference a little human decency can make, superbly played pic is a black comedy that's frequently funny but never frivolous.
  8. It's an instantly disposable and shamelessly derivative piece of work -- call it petit guignol, and you won't be far off the mark -- but first-time feature helmer Jonathan Liebesman shows a savvy flair for atmospheric visuals.
  9. No-frills talking head docu eschews vintage photos and period footage, rendering visually static pic of greatest interest to history buffs, fests and the tube.
  10. Despite fine performances and the care lavished on the production, Amen. is never as emotionally powerful as it should be.
  11. This well researched, detailed examination of the life and work of the legendary avant-garde filmmaker, writer and dancer, Maya Deren, should provoke renewed interest in her -- she emerges as a beautiful, willful, wayward talent with an exceptional vision and a great love for life and for the avant-garde world.
  12. Using archival material and fresh interviews — including testimonials from at least two of his former lovers — Kates and Singer underscore Rustin’s matter-of-fact courage and self-effacing pragmatism.
  13. Pic is an obvious but highly accessible entertainment that manages to josh its subjects without being condescending to either Eastern or Western auds.
  14. It often resembles John Cassavetes' "A Woman Under the Influence," but just as often devolves into a series of bravura acting exercises strung together by an increasingly sketchy narrative theme.
  15. Always imaginative, often arresting, but sometimes just too clever by half.
  16. Lacking the knockout lead perfs or more whimsical tone that might have transcended script's dubious logic, pic comes off as a so-so theatrical stunt delivered via the wrong medium.
  17. Does get slightly better as it goes along.
  18. Comes off as a retro reprise of those slam-bang, buddy-buddy action-comedies that proliferated throughout the '80s in the wake of "48 HRS."
  19. For auds unwilling or unable to grapple with the subtle nuances of "Scooby Doo," Warners now gives us Kangaroo Jack, a shrill and silly farce.
  20. The impressive filmmaking craftsmanship and sharp storytelling skills make this two-hour-plus epic fly by.
  21. Succeeds as a universal account of frustration applicable to any urban center where the gap between haves and have-nots is tauntingly visible.
  22. Israeli filmmaker Loevy questions in voiceover whether one can ever really see the other's side, and the strain of this divide is felt in over-dramatic attempts to highlight individual victims.
  23. The filmmakers themselves betray a lack of knowledge about the Old World, while unfailingly repeating physical hijinks one time too many.
  24. Strong performances, a few dramatically potent scenes and a vividly specific evocation of locale barely offset hackneyed and muddled elements in a script that plays like a first draft.
  25. A powerful and creative film.
  26. Todd Louiso's directorial debut emerges at once as compelling and as a bit of a specimen due to the entirely singular nature of the protagonist's behavior.
  27. Besides "Midnight Cowboy" and "American Gigolo," there aren't many mainstream movies centered on straight male prostitutes. Sonny is a worthy, if indie-style, addition to the list.
  28. A delightful experience.
  29. Max
    The film is ultimately too glib in its suggestion that Hitler's discovering his career path was a matter of sheerest chance, even an accident.

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