Variety's Scores

Select another publication »
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
view
per page
  1. The Princess
    A smarter script would’ve found ways to work a historical critique (or some “Shrek”-like satire, at least) into its relatively brainless string of set pieces.
  2. Burning Days
    [A] scorchingly smart, superbly crafted thriller, in which the morality is blurry with heat haze, but the real lines that divide society are starkly defined: Out here, you are either corrupt or complicit, or collateral for those who are.
  3. Tigers
    It’s a compelling tale, well cast and directed with vivid intensity by Ronnie Sandahl. Still, the somewhat frustratingly limited insight we get into our hero’s addled head may affect export prospects for a film that is more about psychology than athletics.
  4. Olga
    Even before Vladimir Putin’s unprovoked invasion, Olga was an incredibly strong film, but now, the Kino Lorber release should be considered essential viewing for art-house audiences.
  5. The Man from Toronto
    A throwback buddy action-comedy that offsets its run-of-the-mill sense of humor with a pair of appealing leads.
  6. Press Play
    Greg Björkman’s directorial debut has a catchy hook and atmospheric pull — yet the material leaves far too much underdeveloped, unrealized and incohesive to connect with viewers’ heads and hearts.
  7. Murder at Yellowstone City
    Director Richard Gray’s well-crafted and handsomely mounted indie is as much a solidly constructed mystery as it is it a conventionally satisfying oater, with much to recommend to fans of either genre who rarely get to sample such a mix.
  8. The Story Won't Die
    Braiding the reflections of nine variously affected individuals on the subject, David Henry Gerson’s film successfully keeps the big picture and the smaller canvas in conscientious balance, disrupting overwhelming tragedy with more hopeful flashes of invention and inspiration.
  9. Beavis and Butt-Head Do the Universe
    Good cartoon characters tend to be ageless, and Beavis and Butt-Head Do the Universe is just clever enough not to feel like an anachronism. The duo’s creator and forever naughty guiding light, the writer-director Mike Judge (who also does their voices), flows the characters into the present day without a hitch in style or a stitch in time.
  10. My Fake Boyfriend
    Late-night stakeouts, dinner dates gone awry and greenscreen Cristiano blunders often make My Fake Boyfriend feel like a collection of skits and sketches strung together. Some are very funny and they are led by two very capable performers.
  11. The Black Phone
    It’s a horror ride that holds you, and it should have no trouble carving out an audience, but I didn’t find it particularly scary.
  12. Wild Men
    The wonderful thing about Wild Men, a movie that suggests a dream-team collaboration of Hal Hartley and the Coen Brothers, is that everyone involved takes themselves extremely seriously, even as they behave and speak in ways that cause viewers who get the joke to smile, chuckle and occasionally laugh out loud.
  13. The Sea Beast
    In the end, The Sea Beast is a movie about challenging conventional wisdom and figuring things out for yourself, and that’s a philosophy that worked on both sides of the camera.
  14. The Good Neighbor
    Competent performances and a slick veneer make this revamp go down easily enough. Still, one wishes Rick had placed more emphasis on Hitchcockian suspense, rather than trusting the slow-moving tale will hold us via plot and character complexities that really aren’t particularly evident.
  15. Jerry and Marge Go Large
    The movie is a fable of winning, of beating the house every time, without much of a dark side. In that way, it’s fun; it allows us to coast along on our vicarious desire to get rich by beating the system
  16. The Shepherdess and the Seven Songs
    [A] penetrating study of toxic patriarchy and female identity.
  17. Brian and Charles
    A deceptively unserious movie it may be, but Brian and Charles leaves a serious trace through its pure sense of optimism.
  18. Beba
    An insightful, engaging and all-around affirmational auto-portrait from an Afro-Latina New Yorker with an ear for poetry and an eye for the ineffable, Beba never questions its own right to exist.
  19. Rodeo
    Rodeo is a movie that’s all surface, all present tense, all too-cool-to-be-anything-but-French-vérité gestures.
  20. Father of the Bride
    This remake is loud and exaggerated; it’s more hijinks than heart. (Even the swans that bedeviled Martin have been swapped out for synchronized flamingos.) Audiences looking to shed a tear need not RSVP.
  21. Don't Make Me Go
    The movie’s ending is misguided to the point of being perplexing rather than upsetting, recasting everything that came before it in a less favorable light. That’s a shame, as this father-daughter drama starring John Cho has more than its fair share of touching moments before hitting the roadblock that is its questionable third act.
  22. Minions: The Rise of Gru
    Six months into 2022, it’s the funniest film Hollywood has produced thus far. Audiences know what to expect, and Illumination delivers, offering another feel-good dose of bad behavior.
  23. Vengeance
    In Vengeance, B.J. Novak proves a born storyteller with the rare gift of using a film to say something that intoxicates us.
  24. Lightyear
    Given that it’s a spinoff of the “Toy Story” series, which is the greatest and most sustained achievement in contemporary animation, it should be noted that this is one of those Pixar movies that feels like it has 50 percent Disney DNA.
  25. Poser
    The whole thing is oddly beautiful, absurdly compelling and even freakishly watchable. The general sensation of it approaches the out-of-place feeling of being at a party you don’t quite feel cool enough for. But since you’re already there, why not linger for a few drinks and embrace an intriguing ride outside your comfort zone?
  26. Spiderhead
    Kosinski is a gifted director, but his specialty is juggling human elements with complex visual effects. He is not cut out for this kind of comedy. His design choices are all wrong. The execution is tone deaf.
  27. Mary and The Witch's Flower
    It’s here in the movie’s more fantastical details that Yonebayashi’s imagination runs free — and Studio Ponoc’s potential shines brightest. The world they’ve created may not be logical, but it is intuitive, as Mary adapts to whatever hallucinatory wonder or obstacle the filmmakers can throw at her
  28. Lost Illusions
    This sweeping period drama may be up to its eyeballs in costumes and carriages, but it plays with all the brio and jeopardy of a modern-day gangster movie, featuring hack journalists as its antiheroes.
  29. Halftime
    Halftime justly salutes Lopez’s pride in her achievements, but it’s every bit as much a salute to her brand management.
  30. Jurassic World Dominion
    Of the three “Jurassic World” movies, “Dominion” is the least silly and most entertaining. But that’s not saying much. This “stop to ask if they should” cycle’s human characters were never especially interesting, and why should we trust Trevorrow to suddenly make them so?
Page:

Top Trailers

See all »
See all trailers »