Variety's Scores

Select another publication »
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
view
per page
  1. Sidney
    The film isn’t groundbreaking, but its subject most certainly was, and Hudlin has the good sense to get out of the way and give Poitier the spotlight, which shines all the brighter through the eyes of the talents who followed in his footsteps.
  2. The American Dream and Other Fairy Tales
    This engaging economics lesson, bolstered by articulate experts and amusing animated sequences, would be right at home in high school and college classrooms. Heck, it would be a nice addition to Disney Plus, breaking up all the hagiographic puff-pieces on offer there.
  3. My Imaginary Country
    While in formal terms it’s more of a standard, reportage-based doc than any of his recent essays, it is also the rarest of projects: one in which a venerated member of an older generation of political activists communicates a fervent admiration for his younger counterparts and a deep, grateful optimism for the future they are building.
  4. Devotion
    Director JD Dillard dazzles with see-it-in-Imax airborne sequences, but the meat of the film focuses on the friendship between Brown (“Da 5 Bloods” star Jonathan Majors) and his white wingman, played by Glen Powell, the “Hidden Figures” actor who most recently appeared in “Top Gun: Maverick.”
  5. The Enforcer
    Reaching for the grandiose, it never grasps anything beyond the generic.
  6. V/H/S/99
    Here, nothing stands out: The best episodes are merely good enough, and the worst just tiresome.
  7. The Swimmers
    At a bloated 134 minutes . . . your brain may well start to prune, the way fingers do when they spend too much time in water.
  8. Raymond & Ray
    Raymond & Ray is curiously alienating despite the two A-listers in the driver seat, some decent chuckles to spare and a handsome, cinematic finish courtesy of DP Igor Jadue-Lillo.
  9. Other People's Children
    Zlotowski’s deft, perceptive original screenplay is keenly attuned to the cutting emotional impact of a passing remark or overheard jab, and the unintended microaggressions that parents occasionally toss at their child-free peers.
  10. Master Gardener
    Master Gardener is all fingers and thumbs for much of its running time, kept sporadically in order only by the stern, trusty presence of Edgerton himself.
  11. Saint Omer
    Saint Omer challenges accepted ideas of perspective, of subjectivity and objectivity — and even of what cinema can be when it’s framed by an intelligence that doesn’t accept those accepted ideas.
  12. We
    Diop’s small but potent act of subversion, in choosing disparate lives and moments that could seem linked by a railway line and nothing more, is not just to enlarge the idea of who is meant by the collective French “We.” It is also to reclaim the selection process for inclusion within that tiny, divided pronoun.
  13. Good Night Oppy
    For large segments of its running time, Good Night Oppy is more than just a documentary; it’s an animated film as well — and a hugely entertaining one at that.
  14. Sweetheart
    It’s good of its type — just not quite good enough to linger once the lights have come up.
  15. Allelujah
    It didactically calls out governmental hypocrisy while exposing corrupt elements and inefficiencies within the precious institution itself. It hedges its bets politically between nostalgic keening for a kinder, fairer Britain of old and advocating for a top-down socialist makeover. It wavers tonally between cozy comedy and head-on polemic.
  16. Monica
    Conceived with uncommon sensitivity toward the interior lives of its characters, as well as to the shifting codes of trans representation, “Monica” is a film about making amends.
  17. Squaring the Circle (The Story of Hipgnosis)
    [Corbijn's] creation of this delightful doc as an acolyte, if hardly copycat, will be a boon for an audience that grew up pondering the mysteries of the twisted monolith on Zeppelin’s “Presence” cover; LP porn, if we can call it that, could come to no finer culmination.
  18. Emily
    O’Connor’s well-modulated debut doesn’t pretend to be a faithful recreation of the facts of the Brontës’ lives. Instead it succeeds on a much trickier level, giving us a psychologically vivid Emily who did not write “Wuthering Heights” because a real-life romance unlocked her passionate nature, but whom we’d love to imagine having had such a grand affair, because she was always the woman with “Wuthering Heights” inside her.
  19. Confess, Fletch
    There’s more than one way to get a job done — whether it’s solving a murder, recovering priceless art or repainting an old van — and Fletch’s strategy is guaranteed to be more original than whatever the next guy would try.
  20. Goodnight Mommy
    Watts, a veteran of the genre despite never quite being a scream queen, is delightfully disturbing in a role that requires her to mask her character’s true nature as well as her face.
  21. The Greatest Beer Run Ever
    “The Greatest Beer Run Ever” lumbers and meanders, and not just because the structure isn’t there. What we’re seeing, on a human level, is only half-interesting and rather slipshod. Like “Green Book,” “Greatest Beer Run” is based on a true story, but what Peter Farrelly responded to in that story translates, this time, into a token “relevant” boomer nostalgia that hasn’t been fully thought through.
  22. No Bears
    If Panahi’s dissident films have to date been journeys of discovery about the subversively liberating, life-affirming power of cinema, No Bears is where he slams on the brakes.
  23. Ticket to Paradise
    Looking and sounding like it could have been made 20 or 30 years ago, “Ticket” may not contain that much sparkling and sophisticated wit — or indeed many big belly laughs — but delivers sufficient smiles and chuckles to register as an easily enjoyable if unmemorable diversion for audiences seeking simple escapist entertainment.
  24. The Good Nurse
    What lingers most about it is a sense of selfless compassion, the kind that Amy possesses when she painfully reminds herself of the good buried within inexplicable evil. Watching her try to summon that good makes for a quietly devastating finale, one that’s thoroughly earned by the soulful film that precedes it.
  25. Causeway
    Causeway is a drama of redemption that’s both touching and a little arduous. Just because your characters are suffering doesn’t mean they have to mostly stop talking.
  26. A Jazzman's Blues
    A Jazzman’s Blues overflows with melodrama, yet it isn’t staged broadly. It’s closer to Perry’s version of a Douglas Sirk film, one that takes a romance and heightens it until the complications are growing and twisting around it like vines.
  27. The Silent Twins
    Layering one wild formal flourish over another — from macabre stop-motion animation to elaborately choreographed musical fantasies — to channel the inner lives of two young women who communicated only with each other, keeping the rest of the world outside their circle, it’s a swing for the fences that sometimes, almost by design, spins out of control.
  28. My Policeman
    Alas, the older actors don’t have all that much to do (editor Chris Dickens keeping cutting back to McKee reading), but the younger trio are strong, albeit restrained, in their roles. Corrin, so great as a wife betrayed in “The Crown” (they played Princess Diana), could do this role in their sleep, while Styles has the tricky task of making Tom’s betrayal feel tragic for all involved.
  29. Catherine Called Birdy
    The movie wouldn’t have worked half as well had Dunham not discovered Ramsey, a “Game of Thrones” veteran soon to be seen in HBO’s “The Last of Us.” The young actor has a face one might find in a medieval Madonna portrait and a rowdy contemporary sensibility that makes her instantly relatable.
  30. The Fabelmans
    Spielberg’s a born storyteller, and these are arguably his most precious stories.
Page:

Top Trailers

See all »
See all trailers »