Variety's Scores

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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:
  1. Positive: 9,121 out of 17758
  2. Mixed: 7,002 out of 17758
  3. Negative: 1,635 out of 17758
17758 movie reviews
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  1. In Viaggio: The Travels of Pope Francis
    “In Viaggio” captures the Pope, and by extension the whole Church, in an uncomfortable limbo state between defensiveness and progressiveness, though it keeps its own critique tacit and un-narrated, hinging on what the viewer brings to its hand-picked footage.
  2. Creed III
    Creed III is a sports drama that feels like a thriller with an urgent conscience.
  3. We Have a Ghost
    Rarely ha-ha funny and never scary, it’s ultimately more sentimental than anything else — a clunky approach that undermines its strong performances.
  4. Cocaine Bear
    Cocaine Bear is less formulaic than a slasher film and more stylishly made. It’s a true oddball, one that mixes yocks and mock desperation and disembodied limbs. So when it’s over you can say, “Well, we definitely saw that.”
  5. Femme
    A pair of sensational performances by Nathan Stewart-Jarrett (“Candyman”) and George MacKay (“1917”), locked in a nervy duet as two men with virtually nothing in common but their sexuality, represents the chief selling point for this stylish, commendably uncompromising fusion of genre fireworks and measured, thoughtful character study.
  6. Jesus Revolution
    It’s one of the most appealing faith-based big-screen entertainments in a while, polished and persuasive without getting too preachy.
  7. Bruiser
    From the squarish Academy ratio and unconventional framing to composer Robert Ouyang Rusli’s tense, bracing-for-conflict score, Warren’s choices frequently surprise, building to an ending that does exactly the right thing with the showdown we could feel coming all along.
  8. Ingeborg Bachmann - Journey into the Desert
    In many ways, Ingeborg Bachmann – Journey into the Desert feels like the exact opposite of the project we ought to be attempting, which is to reclaim the work of women of genius who are in danger of falling into obscurity, without reducing their already threatened legacies to mere romantic biography
  9. Golda
    Golda is a good drama about Israel. But it will take a great drama about Israel to dig into the nation’s long-simmering moral ambiguities.
  10. The Echo
    Examining the unique ties that bind farming families, where everyone’s welfare hangs on the same unkind elements, this exquisitely textured film observes how children’s lives echo those of their parents, repeating for generations on the same constantly inconstant land, until somebody breaks the pattern.
  11. The Survival of Kindness
    Man’s enormous inhumanity to man is reproduced in precise, characterful miniature, with a pared-back artistry that somehow earns de Heer the right to be thematically blunt, and deeply pessimistic.
  12. Disco Boy
    Even when Disco Boy threatens to be too much or too little, however, Rogowski’s strange, sparse, plaintive performance keeps its soul intact, and its most poignant query afloat above all the flash and dazzle and neon lights: just how much of themselves people will sacrifice for a paper identity.
  13. The Adults
    The Adults is most moving in its understanding of the trivial quips, asides and slight, splintered anecdotes that are sometimes all that remains between adult relatives who once shared richer connective tissue.
  14. Devil's Peak
    Despite some good performances and vividly written characters, Devil’s Peak crumbles due to Penn’s inexperienced performance. Otherwise, it’s an entertaining drama with some grandiose ideas about family legacy that make it peculiarly compelling.
  15. Reality
    Reality can be stranger than fiction, but “Reality” fuses the two to become stranger, and more riveting, still.
  16. Manodrome
    The characters feel thin, the secret society seems implausible and its goals too vague to capture the imagination. “Manodrome” taps into a deep unease at play in the wider world, but it presents only the shell of an idea, focusing on a not-terribly-interesting character with only the haziest of goals.
  17. She Came to Me
    We’re invited to laugh at what we’re seeing, yet Miller works in such a heartfelt and unassuming way that we’re never standing outside the quirks.
  18. BlackBerry
    The film, at least, feels fresh, making geek history more entertaining than it has any right to be.
  19. A Radiant Girl
    Newcomer Marder’s performance is a thoroughly engaging one. She manages to demonstrate both screen presence and likability, despite a role which requires her to represent youthful optimism to an almost symbolic degree.
  20. Moving On
    Tomlin’s terrific in this mode. The script is as bland as the “cardboard” they serve in her rest-home cafeteria, but she manages to inject it with vinegar and attitude, while embracing the realities of aging.
  21. The First Step
    While there’s much to admire here, there are stylistic choices that vex. The First Step stumbles as it tries to balance its interest in Jones with the significance of the bill.
  22. Winnie-the-Pooh: Blood and Honey
    It’s bad enough that the film doesn’t have the smarts to actually satirize its inspirational source. But bizarrely, it doesn’t really send up slasher tropes, either, while lacking the skillset to take play them seriously.
  23. Ant-Man and the Wasp: Quantumania
    “Quantumania” is fun, as well as bedazzling, relentless and numbing, then fun again just when you think you’ve had enough; all of that gets mashed together.
  24. Consecration
    In Consecration Jena Malone doesn’t just sport a casually impeccable British accent. She becomes British — her mood and manners, the way she rocks the sweaters and bangs and debonair politeness. She creates a compelling character, only to see the film’s director, Christopher Smith, swallow her up in all the ecclesiastical gothic malarkey.
  25. Seriously Red
    Director Gracie Otto’s Seriously Red disarms and delights as a sensationally spirited concoction that neatly balances unfettered outrageousness and unabashed sentimentality.
  26. Attachment
    For horror fans that are as compelled by creative (and thought-through) ideas as by style or skillful execution, “Attachment” embraces what to many may be a new or different text, but it’s clearly knowledgeable about the traditions of the genre — and most of all, deeply faithful to its spirit.
  27. At Midnight
    Boneta and Barbaro’s chemistry adds a simmering, sultry sway to the material’s rhythms, gifting it with an uplifting buoyancy. They’re magnetic together, driving our rooting interest for the couple.
  28. Your Place or Mine
    Your Place or Mine is an outrageously benign movie, which may not sound like much of a criticism. But it’s so benign it’s innocuous. There’s no tension, no comedy with any bite (except for the dry one-liners of Tig Notaro as the best friend who’s there to give advice), no romantic friction.
  29. Somebody I Used to Know
    The romantic comedy genre’s broad, patented hijinks and hilarity are indeed on display, but cleverly cloaked by a beautifully-realized portrait of delicately faceted characters and their relatable conundrums.
  30. Sharper
    A deep ensemble cast is game for this ambitiously overwrought material, but no amount of committed acting can overcome the movie’s manipulative artifice.
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