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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    • 72 Metascore
    • 60 Critic Score
    The Sons of Katie Elder
    Wayne delivers one of his customary rugged portrayals, a little old, perhaps, to have such a young brother as Anderson but not so old that he lacks the attributes of a gunman. Martin, who plays his part with a little more humor than the others, is equally effective in a hardboiled characterization.
    • 69 Metascore
    • 70 Critic Score
    The Pawnbroker
    There is little plot in the regular sense, but a series of episodes spanning just a few days of the present, which recall many harrowing experiences of the past. Some are absorbing, but others seem to lack the dramatic punch for which the director must have strived.
    • 70 Metascore
    • 50 Critic Score
    Operation Crossbow
    Ambitiously filmed in Europe and boasting production values which may seem to catch the spirit of the monumental effort, what the Carlo Ponti production lacks primarily is a cohesive story line.
    • 80 Metascore
    • 80 Critic Score
    The Train
    After a slow start, The Train picks up to become a colorful, actionful big-scale adventure opus.
    • 63 Metascore
    • 100 Critic Score
    The Sound of Music
    The Robert Wise production is a warmly pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast headed by Julie Andrews and Christopher Plummer which must strike a respondent chord at the box office.
    • 49 Metascore
    • 70 Critic Score
    None But the Brave
    Frank Sinatra, who also stars with Clint Walker and produces, makes his directorial bow and is responsible for some good effects in maintaining a suspenseful pace.
    • 61 Metascore
    • 60 Critic Score
    36 Hours
    Based on Roald Dahl’s Beware of the Dog and a story of Carl K. Hittleman and Luis H. Vance, it provides a behind-the-scenes glimpse of high military intelligence at work.
    • 87 Metascore
    • 90 Critic Score
    Goldfinger
    There's not the least sign of staleness in this third sample of the Bond 007 formula. Some liberties have been taken with Ian Fleming's original novel but without diluting its flavor.
    • 95 Metascore
    • 100 Critic Score
    My Fair Lady
    It has riches of story, humor, acting and production values far beyond the average big picture. It is Hollywood at its best.
    • 42 Metascore
    • 50 Critic Score
    Goodbye Charlie
    Even by delving into fantasy for its wildly implausible premise this picturization of George Axelrod's not-so-successful 1960 Broadway play doesn't come off as anything but the mildest type of entertainment.
    • 68 Metascore
    • 60 Critic Score
    The Americanization of Emily
    Primarily interesting for the romance between Andrews and Garner.
    • 39 Metascore
    • 40 Critic Score
    Woman of Straw
    Director Basil Dearden seems, here, to have temporarily misplaced the vigorous insight that has earned him some top credits. Best that can be said of Straw [from the novel by Catherine Arley] is that it looks handsome. But the film gets bogged down by stilted dialog and by the situations.
    • 75 Metascore
    • 70 Critic Score
    Fail-Safe
    Fail Safe is a tense and suspenseful piece of filmmaking dealing with the frightening implications of accidental nuclear warfare. It faithfully translates on the screen the power and seething drama of the Eugene Burdick-Harvey Wheeler book.
    • 88 Metascore
    • 100 Critic Score
    Mary Poppins
    Julie Andrews’ first appearance on the screen is a signal triumph and she performs as easily as she sings, displaying a fresh type of beauty nicely adaptable to the color cameras. Van Dyke, as the happy-go-lucky jack-of-all-trades, scores heavily, the part permitting him to showcase his wide range of talents.
    • 96 Metascore
    • 80 Critic Score
    A Hard Day's Night
    A wacky, offbeat piece of filming, charged with vitality, and inventiveness by director Dick Lester.
    • 85 Metascore
    • 80 Critic Score
    Harakiri
    This stunning film is a sombre tragedy [from Yasuhiko Takiguchi's novel] giving off deep rage against militarism, political systems and beliefs that do not allow for a rational human outlook or future change.
    • 73 Metascore
    • 50 Critic Score
    Marnie
    Marnie is the character study of a thief and a liar, but what makes her tick remains clouded even after a climax reckoned to be shocking but somewhat missing its point.
    • 72 Metascore
    • 50 Critic Score
    The Killers
    Coon’s screenplay is burdened with affected dialog and contrived plotwork. Virtually nothing of the original Hemingway remains.
    • 77 Metascore
    • 70 Critic Score
    The Masque of the Red Death
    Vincent Price is the very essence of evil, albeit charming when need be.
    • 70 Metascore
    • 70 Critic Score
    A Shot in the Dark
    Sometimes the narrative is subordinated to individual bits of business and running gags but Sellers’ skill as a comedian again is demonstrated, and Sommer, in role of the chambermaid who moves all men to amorous thoughts and sometimes murder, is pert and expert.
    • 77 Metascore
    • 70 Critic Score
    Zulu
    Joseph E. Levine makes an impressive debut in British film production with Zulu, a picture that allows ample scope for his flamboyant approach to showmanship.
    • 57 Metascore
    • 50 Critic Score
    The Patsy
    The Patsy's slim story line has it ups and downs, sometimes being hilarious, frequently unfunny.
    • 54 Metascore
    • 60 Critic Score
    Bedtime Story
    Bed time Story will divert the less discriminating, although there are times when even such major league performers as Marlon Brando and David Niven have to strain to sustain the overall meager romantic comedy material.
    • 83 Metascore
    • 80 Critic Score
    From Russia with Love
    From Russia with Love is a preposterous, skillful slab of hardhitting, sexy hokum. After a slowish start, it is directed by Terence Young at zingy pace.
    • 61 Metascore
    • 70 Critic Score
    The Chalk Garden
    On paper, this sounds like a ripe old piece of Victoriana, but curiously it works, largely because of confident, smooth performances by all concerned.
    • 69 Metascore
    • 70 Critic Score
    Viva Las Vegas
    The sizzling combination of Elvis Presley and Ann-Margaret is enough to carry Viva Las Vegas over the top.
    • 91 Metascore
    • 50 Critic Score
    An Autumn Afternoon
    This view of contemporary middle class life in Japan is too leisurely paced, too sentimental in design and its humorous social comments too infrequent.
    • 54 Metascore
    • 60 Critic Score
    The Evil of Frankenstein
    In this one Peter Cushing plays the baron with his usual seriousness, avoiding tongue-in-the-cheek, and he is the main prop in the proceedings.
    • 83 Metascore
    • 70 Critic Score
    The Naked Kiss
    Good Samuel Fuller programmer about a prostie trying the straight route, The Naked Kiss is primarily a vehicle for Constance Towers. Hooker angles and sex perversion plot windup are handled with care, alternating with handicapped children 'good works' theme.
    • 55 Metascore
    • 80 Critic Score
    The Pink Panther
    Quite apart from the general air of bubbling elegance, the pic is intensely funny. The yocks are almost entirely the responsibility of Peter Sellers, who is perfectly suited as a clumsy cop who can hardly move a foot without smashing a vase or open a door without hitting himself on the head.
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