Variety's Scores

For 17,758 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:
17758 movie reviews
  1. In its dry deliberate way, Paint skewers something all too real: a certain kind of toxic self-deluding male myopia.
  2. The Super Mario Bros. Movie gives you a wholesome prankish druggy chameleonic video-game buzz; it’s also a nice, sweet confection for 6-year-olds.
  3. The film is an exemplar of its genre, one that honors its forebears while also acknowledging and attempting to correct their more glaring faults.
  4. Sandler and Aniston mesh; they made you believe in Nick and Audrey’s cantankerous marriage, and in the love percolating just beneath the fighting. If what Nora Ephron devised was a clever Xerox of the rom-com, “Murder Mystery 2” is a Xerox of the Xerox, powered by a whodunit plot that’s a cheesy light parody of itself played just straight enough to work.
  5. Kill Boksoon, like its heroine, could do with learning that there’s more to life than being highly efficient in execution.
  6. Though not quite a slam-dunk — its sum impact is more pleasingly ingenious than indelible — Late Night With the Devil definitely reps a personal best for the Cairnses.
  7. Searchingly directed by John Scheinfeld (“The U.S. vs. John Lennon”), What the Hell Happened to Blood, Sweat & Tears? is a tasty and urgent piece of rock history, but in a strange way the film never comes close to answering its own question.
  8. The Thief Collector is a nimble and entertaining dissection of a crime. It’s also a portrait of art and obsession. But by the time it makes you say “Oh. My. God.,” it’s a movie that has used art to touch something essential about how strangers — or maybe I should just say the downright strange — walk among us.
  9. Despite a routine plot and some abrasive tonal shifts, this tale of a motherly mentor turning three damaged young women into deadly assassins is packed with exciting action and boasts fine performances from four killers bound by blood, bullets and all manner of deadly weapons.
  10. “Money Shot,” with a no-fuss journalistic evenhandedness, makes the case that the reaction against the site, though most of it came from an unassailable moral place, may have been out of balance — that it wound up hurting sex workers without actually doing anything tangible to help the victims of trafficking.
  11. Every so often, you’ll see a portrait-of-the-artist documentary that’s so beautifully made, about a figure of such unique fascination, whose art is so perfectly showcased by the documentary format, that when it’s over you can’t believe the film hadn’t existed until now. It feels, in its way, essential. Nam June Paik: Moon Is the Oldest TV is like that.
  12. It’s an addiction drama that has scenes you can bicker with, a few contrivances, and other peccadilloes. Yet beneath the middlebrow situational conventionality, there’s a core of raw feeling and truth to it.
  13. Raging Grace strikes a skillful balance of sociopolitical commentary and conventional yet effective spooky stuff, and maintains that equilibrium after Zarcilla flips the script in regard to motivations and assumptions.
  14. Air
    Air reveals how an exceptional Black athlete leveraged his talent and the power of being pursued by a bunch of white men in suits, to change the game. Not just basketball, but the whole field of celebrity endorsements.
  15. The movie may not be “Bridesmaids”-level brilliant, but it’s got more than a couple hall-of-fame-worthy comedy set-pieces.
  16. Johnson delivers a silly and frequently surprising why-we-need-people parable that leans on laughs in lieu of peril.
  17. For all his funny ideas, it doesn’t feel like Torres has a consistent world view, and the movie is poorly organized and unwieldy as a consequence.
  18. While the movie itself is more whimsical than magical, it does have a few tricks up its sleeve.
  19. The documentary captures how Shatner, as he began to make a career out of performing his public legend, merged his very identity with that of the hambone thespian inside him.
  20. Hooray! A romantic comedy that revives the screwball formula where two people talk themselves silly — and we only had to go to the end of the solar system to make it happen.
  21. Hopelessly shallow Down Low is still light-years ahead of mainstream movies (including last year’s “Bros”) as debuting feature director Rightor Doyle delivers what an entire contingent of queer audiences have been asking for all their lives: namely, a comedy that’s as raunchy and inappropriate as the jokes they make among themselves.
  22. To be sure, the fans will appreciate it a lot more than casual viewers. But it’s also an irresistible hoot for anyone with fond memories of star-studded 1970s musical/variety TV specials.
  23. Inside has an intriguing premise and an actor who makes whatever’s thrown at him intriguingly watchable. What it lacks is sufficient sense of who this character is, and a resonant enough narrative to justify being locked up together.
  24. Short, sweet and sparky, Raine Allen-Miller's immensely likable debut doesn't reinvent the wheel, but instant chemistry between stars Vivian Oparah and David Jonsson keeps it spinning.
  25. A distant cousin to “Zodiac,” with splashes of “Seven” mixed into its homages, this thriller falls short of its influences yet carves out a small space of its own. It makes a searing indictment of the sloppy, sexism-laced police work that might’ve resolved the case, and pays tribute to the two women who broke the investigation wide open.
  26. In keeping with “Evil Dead” tradition, there’s also an abundance of bloody mayhem that increases exponentially until a hugely satisfying and splatterific climax.
  27. Tapping into late-1980s nostalgia — including the launch of the handheld Game Boy console — the movie doubles as a nifty history lesson, reminding audiences of just how tense things were between the Soviet Union and the rest of the world.
  28. The origin story was the charm, but the sequel is hobbled by a less buoyant hero and bland villains.
  29. With a twist-packed plot to match its labyrinthine location, Zhang’s fast-paced film motors along nicely as an engaging “Knives Out”-style whodunnit before stumbling a little in the protracted final act.
  30. The movie is conceived as a knowingly overstuffed gift to “John Wick” fans, and on that level it succeeds.

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