Variety's Scores

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:
17757 movie reviews
  1. There’s a lot of acting here, little of it peak-form for the talent involved, though the ensemble lifts and colors Anders’ sometimes heavy-handed dialogue.
  2. Sadly, the film doesn’t live up to its charming premise, spending most of its runtime chasing its own tail with pointless jokes and dog-related puns that are only mildly amusing, along with an undercooked love story that doesn’t know how to steal our hearts.
  3. Defiantly peculiar and only a little overlong at three hours, Dry Leaf is a joy for devotees of the strange, singular and sometimes transcendent. It’s a movie to ride shotgun alongside, with the windows down on a lazy trip to nowhere in particular, that ends up taking you everywhere in particular.
  4. Elena Oxman’s Outerlands is a film of great cinematic sleight of hand.
  5. It’s a gorgeous-looking film, but a drag.
  6. Underneath the lowbrow fart jokes and images of caribou mating, the Scrivers’ Endless Cookie honors the legacy others left behind through their experiences so that it can help each new generation piece together their understanding of the embattled present.
  7. Hall and Gandersman compel enough interest to pull viewers through, even if they may find the fadeout less than satisfying.
  8. For his evocative and wistful romance to yield its intended effect, writer-director Cyril Aris’ biggest ask of the viewer is to surrender to the serendipitous nature of the couple’s connection — a request that is later supported with a concept that expands the film’s magical realist vein. Contrived by design, the premise eventually earns enough goodwill for one to play along.
  9. This is a striking statement of intent from its Slovenian writer-director — there’s an airy delicacy here that invites comparisons to early Céline Sciamma, but with its own raw, restless edge.
  10. Five Nights at Freddy’s 2 is a supernatural video-game slasher movie of astonishing clunky crudeness. No, the movie isn’t dumb fun. It’s flat-out bad, maybe even worse than the first film.
  11. One of the year’s few masterpieces.
  12. These movies are comedies first and crime-film homages second, but it’s their tertiary value as social commentary that makes the franchise so indispensable: Behind the laughs are teachable moments.
  13. Copti and cinematographer Tim Kuhn shoot each interaction with an up-close, handheld intimacy that not only magnifies the subtle, powerful performances of the cast (many of them first-time actors), but welcomes the viewer into each scene, as though it were a complicated family reunion.
  14. The film’s irascible but deeply principled subject — thirty-something divorcee Sara Shahverdi — gives the film its energy, though its lulls aren’t quite as purposeful. However, despite feeling drawn-out, the doc features occasional bursts of visual panache that help emphasize its underlying story.
  15. The emotions are real; everything else is movie magic, representing where we now stand — at the apex of artificiality — for better or worse.
  16. Engrossing as well as damning.
  17. Newport & the Great Folk Dream is a rapturous documentary — elegant and transporting, full of scratchy lyrical black-and-white images and performances that have a timeless power.
  18. Come See Me in the Good Light, is very good on the existential. But Gibson and Falley are even more generous in sharing their journey through the medical morass.
  19. The mood is low-key and naturalistic, yet a streak of trippy weirdness keeps intruding. And here’s the thing: The weird parts don’t add up. That’s likely by design, but that doesn’t make it good.
  20. The Alabama Solution is one of the most powerful exposés of the inhumanity of the American prison system I’ve ever seen.
  21. Belén might never regain the vivid rage and terror of its opening minutes, but Fonzi’s film ends up carrying viewers on its own wave of pride and upright conviction, ultimately delivering the hope its promises
  22. The period detail is impressive, the storytelling is engrossing, and the overall impact is pleasantly enjoyable.
  23. Writer-director John-Michael Powell maintains a likably low-key interest in the local flavor of his home state, but it’s small potatoes in terms of personality. His self-serious approach proves a terminal match for his crime yarn’s familiar, simplistic plotting.
  24. It hangs together and mostly obeys the rules of mainstream commercial cinema. Yet it’s clear that what drew Wright to the project was his infatuation with the sci-fi sociology of a retro-future USA.
  25. The climax, picking up on the metaphysical sleight-of-hand that powered “Now You See Me 2,” lifts the veil of deception off reality itself. And does it all in good fun. Which is all this movie is or needs to be.
  26. It’s Perry’s version of a holiday movie and a connect-the-dots love story, but it’s cliché-driven in such a minimal way that it almost makes you yearn for the Perry movies that can feel like a long night of channel surfing all rolled into one.
  27. The pleasant, polished drama provides a compassionate take on a high schooler undergoing considerable change, its only debit being the arguably too-neat depiction of that transitional circumstance.
  28. Drawn from experience and benefiting from some standout performances among its well-selected young cast, The Plague has a familiar coming-of-age narrative, but stranger, subtler undercurrents of creeping dismay at the men these boys will become when, at this formative age, cruelty chlorinates the water they swim in.
  29. This definitive doc about Selena feels comprehensive and illuminating, thanks to candid family interactions found in home movies from their earliest performances at their restaurant, recordings of local Texas TV station appearances, and eventually images captured on the road while traveling in a makeshift tour bus.
  30. This is impressively composed, searching high-art cinema, elevated by its meticulous, silkily textured formal construction

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