Variety's Scores

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For 17,760 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 17760
  2. Mixed: 7,003 out of 17760
  3. Negative: 1,636 out of 17760
17760 movie reviews
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    • 55 Metascore
    • 50 Critic Score
    Far from the Madding Crowd
    Julie Christie, Peter Finch, Terence Stamp and Alan Bates are variedly handsome and have their many effective moments, but there is little they can ultimately and lastingly do to overcome the basic banality of their characters and, to a certain degree, their lines.
    • 67 Metascore
    • 50 Critic Score
    Reflections in a Golden Eye
    A pretentious melodrama.
    • 86 Metascore
    • 60 Critic Score
    Bonnie and Clyde
    This inconsistency of direction is the most obvious fault of Bonnie and Clyde, which has some good ingredients, although they are not meshed together well.
  4. In the Heat of the Night
    An excellent Sidney Poitier performance, and an outstanding one by Rod Steiger, overcome some noteworthy flaws to make In The Heat of the Night an absorbing contemporary murder drama, set in the deep, red-necked South.
    • 73 Metascore
    • 80 Critic Score
    The Dirty Dozen
    Lee Marvin heads a very strong, nearly all-male cast in an excellent performance.
    • 55 Metascore
    • 70 Critic Score
    To Sir, with Love
    A well-made, sometimes poignant, drama.
    • 61 Metascore
    • 70 Critic Score
    You Only Live Twice
    Donald Pleasence makes a suitably menacing German heavy who appears in film’s final scenes.
    • 85 Metascore
    • 90 Critic Score
    El Dorado
    An excellent oater drama, laced with adroit comedy and action relief, and set off by strong casting, superior direction and solid production.
    • 65 Metascore
    • 70 Critic Score
    The War Wagon
    The War Wagon is an entertaining, exciting western drama of revenge, laced with action and humor. Strong scripting, performances and direction are evident, enhanced by terrif exterior production values.
    • 55 Metascore
    • 80 Critic Score
    Barefoot in the Park
    A thoroughly entertaining comedy delight about young marriage.
    • 42 Metascore
    • 30 Critic Score
    The Way West
    Project probably looked good on paper, but washed out in scripting, direction and pacing. Incidents do not build to any climax; excepting the first and last reels, any others could be shown out of order with no apparent discontinuity.
    • 84 Metascore
    • 90 Critic Score
    Bob Dylan: Dont Look Back
    Pennebaker has fashioned a relentlessly honest, brilliantly edited documentary permeated with the troubador-poet's music.
    • 74 Metascore
    • 80 Critic Score
    For a Few Dollars More
    A hard-hitting western with upper-case values out of the busy Italo stable, this is a topnotch action entry.
    • 48 Metascore
    • 30 Critic Score
    Casino Royale
    A film of astounding sloppiness, an insult to the Bond name (most likely deliberate) and a dark spot on the resumes of all involved (surely unintentional).
    • 78 Metascore
    • 60 Critic Score
    Two for the Road
    As far as producer, director, femme lead and screenwriter are concerned, this attempt to visually analyze the bits and pieces that go into making a marriage, and then making it work, is successful. If it drags a bit here and there, blame it on the stodgy performance of actor Albert Finney who is unable to convey the lightness, gaiety and romanticism needed.
    • 80 Metascore
    • 80 Critic Score
    Hombre
    Hombre develops the theme that socially and morally disparate types are often thrown into uneasy, explosive alliance due to emergencies. Paul Newman is excellent as the scorned (but only supposed) Apache. Fredric March, essaying an Indian agent who has embezzled food appropriations for his charges, also scores in a strong, unsympathetic – but eventually pathetic – role. Richard Boone is very powerful, yet admirably restrained as the heavy.
    • 94 Metascore
    • 80 Critic Score
    Chimes at Midnight
    A personal viewpoint, it mixes the grotesque, bawdy, comic and heroic, and does have a melancholy under its carousing and battles.
    • 63 Metascore
    • 50 Critic Score
    Frankenstein Created Woman
    In Frankenstein Created Woman the good doctor, as usual, played by Peter Cushing, doesn't really create woman, he just makes a few important changes in the design. Considering the result is beautiful blonde Susan Denberg, most film fans would like to see the doctor get a grant from the Ford Foundation, or even the CIA.
    • 86 Metascore
    • 80 Critic Score
    Persona
    Bergman has come up with probably one of his most masterful films technically and in conception, but also one of his most difficult ones.
    • 58 Metascore
    • 60 Critic Score
    One Million Years B.C.
    Biggest novelty gimmick of this likely click for unsophisticated situations is that, despite four writers on screenplay [including director Michael Carreras], dialog is minimal, consisting almost entirely of grunts. More saleable gimmick is that, at last, the nubile Raquel Welch is on view.
    • 65 Metascore
    • 90 Critic Score
    A Fistful of Dollars
    This is a hard-hitting item, ably directed, splendidly lensed, neatly acted, which has all the ingredients wanted by action fans and then some.
    • Variety
    • 62 Metascore
    • 80 Critic Score
    Gambit
    Shirley MacLaine and Michael Caine star in a firstrate suspense comedy, cleverly scripted, expertly directed and handsomely mounted.
    • 72 Metascore
    • 70 Critic Score
    Grand Prix
    The roar and whine of engines sending men and machines hurtling over the 10 top road and track courses of Europe, the US and Mexico – the Grand Prix circuits – are the prime motivating forces of this actioncrammed adventure that director John Frankenheimer and producer Edward Lewis have interlarded with personal drama that is sometimes introspectively revealing, occasionally mundane, but generally a most serviceable framework.
    • 82 Metascore
    • 50 Critic Score
    Blow-Up
    As a commentary on a sordid, confused side of humanity in this modern age it's a bust.
  25. A Man for All Seasons
    Producer-director Fred Zinnemann has blended all filmmaking elements into an excellent, handsome and stirring film version of A Man For All Seasons.
    • 71 Metascore
    • 80 Critic Score
    You're a Big Boy Now
    Francis Coppola has drawn topflight performances from his talented cast.
    • 75 Metascore
    • 60 Critic Score
    Cul-de-sac
    As a study in kinky insanity, Cul-de-Sac creates a tingling atmosphere. This sags riskily at times when the director unturns the screws and does not keep control of his frequently introduced comedy.
    • 63 Metascore
    • 60 Critic Score
    What's Up, Tiger Lily?
    Take a Toho Films (Japan) crime meller [directed by Senkichi Taniguchi], fashioned in the James Bond tradition for the domestic market there, then turn loose Woody Allen and associates to dub and re-edit in camp-comedy vein, and the result is What’s Up, Tiger Lily? The production has one premise – deliberately mismatched dialog – which is sustained reasonably well through its brief running time.
    • 75 Metascore
    • 70 Critic Score
    The Professionals
    Exciting explosive sequences, good overall pacing and acting overcome a sometimes thin script.
    • 63 Metascore
    • 60 Critic Score
    The Fortune Cookie
    Generally amusing (often wildly so) but overlong.
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