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. A Taste of Whale
    This solid both-sides-now overview also raises wider questions regarding humanity’s sometimes-hypocritical ethics toward what we eat, where we get it, and how.
  2. Stars at Noon
    Trish is the plum part here, and a sensational Qualley — cycling through a ragged thrift-store wardrobe, with a lavish halo of dark curls that can’t help but recall her mother, Andie MacDowell — grabs it with both callused hands.
  3. EO
    EO is a damning polemic on our relationship to other intelligent species — as free labor, food and companions — as seen through the dewy, wide eyes of a donkey whom we come to adore.
  4. Moonage Daydream
    Watching Moonage Daydream, there are essential facts you won’t hear, and many touchstones that get skipped over (in the entire movie, you’ll never even see an album cover). But you get closer than you expect to the chilly sexy enigma of who David Bowie really was.
  5. Elvis
    Luhrmann has made a woefully imperfect but at times arresting drama that builds to something moving and true. By the end, the film’s melody has been unchained.
  6. Cairo Conspiracy
    What we’re dealing with here is a fairly conventional political thriller — think “House of Cards,” minus the sleek David Fincher aesthetic or much in the way of suspense — set in a world no one has dared to explore on screen before now.
  7. The Eight Mountains
    Stately and serene from a distance, but up close riven with the fissures and follies of a friendship that costs both men so much but gives them even more, the movie, too, is a mountain.
  8. Decision to Leave
    After the world-conquering success of Bong Joon-ho’s “Parasite” and the small-screen domination of “Squid Game,” your new, sublimely accomplished Korean thriller obsession is here, and it is Park Chan-wook’s Decision to Leave.
  9. Crimes of the Future
    The movie, like so many Cronenberg films, is a gut-twister that is really, just underneath, a painstakingly chewed-over and cerebral experience. It’s an outré nightmare that keeps telling you what to think about what it means.
  10. R.M.N.
    R.M.N. is a slow-motion snapshot of a deeply riven community flying apart in all directions, as though some bomb, detonated years or perhaps even centuries ago, has never stopped exploding.
  11. Fire Island
    Yang may be the MVP in this ensemble, though the cast is terrific across the board.
  12. The Bob's Burgers Movie
    Nothing in here makes an argument to be on the big screen. But it’s darned delightful, like a fizzy soda on a hot day.
  13. Corsage
    Full of odd glitches and deliberate flubs in period detail, the film feels like an invitation into a secret conspiracy to reach back through time and, with deft, irreverent 21st-century fingers, loosen the stays on Empress Elisabeth’s corsetry just a little.
  14. Brother and Sister
    Alice and Louis are such artificial, wanly self-absorbed characters, forever speaking in finely turned, therapy-honed aphorisms that never sound anything other than screen-written, that it’s hard even to invest in their conflict at an abstract level.
  15. Aftersun
    Aftersun thus works elegantly as a kind of dual coming-of-age study, perfectly served by Mescal’s signature brand of softboi gentleness — here shown maturing and creasing into more hardened, troubled masculinity — and the vitality of Corio, whose deft, lovely performance braids both authentic exuberance and a girlishness that feels more performed, as if for the benefit of her dad.
  16. One Fine Morning
    It knows the fragility of quiet, which is sometimes the sound of inner peace, and sometimes, per that Prévert poem, the echoing unrest of an empty space.
  17. Triangle of Sadness
    The thing about Östlund is that he makes you laugh, but he also makes you think. There’s a meticulous precision to the way he constructs, blocks and executes scenes — a kind of agonizing unease, amplified by awkward silences or an unwelcome fly buzzing between characters struggling to communicate.
  18. A Perfect Pairing
    A Perfect Pairing may lack a unique complexity and leave some sediment behind, but its finish is pleasing nonetheless.
  19. Digger
    In this witty, windblown modern fable, man, nature and machine get to take turns being the enemy and the savior.
  20. Three Thousand Years of Longing
    These days, audiences are so savvy about the tricks at a filmmaker’s disposal that the movie’s greatest achievement is that it seizes our imagination (or perhaps that’s our attention deficit disorder being so brusquely manhandled) and holds it for the better part of two hours, defying us to anticipate what comes next.
  21. Tchaikovsky's Wife
    It’s a drama of dour and often impenetrable obscurity. ... Yet everything about it that’s unsatisfying is also weirdly intentional.
  22. All My Puny Sorrows
    As a portrait of sisterly trust, obligation and estrangement, and the difficulty of carrying familial dependencies into adulthood and beyond, the film is measured and thoughtful, lifted by performances of characteristic sensitivity by Alison Pill and Sarah Gadon.
  23. Armageddon Time
    The movie ends with a rebel gesture that feels too much like…a gesture. It’s the perfect sign-off for a drama that cares, but maybe not enough to see that this kind of caring actually became part of the problem
  24. Final Cut
    It’s a messy and annoying one-joke movie that repeats the joke over and over again — and guess what, it was barely funny the first time.
  25. The Valet
    Sweet-natured and good-humored.
  26. Vendetta
    Vendetta, which is so curiously timid it doesn’t even provide one memorable bit of gratuitous B-movie gore, will evaporate from your memory the moment you return the disc to the Redbox kiosk from which you rented it.
  27. Chip 'n Dale: Rescue Rangers
    This frenetic and funny crossbreeding of live action and cartoon is both a reboot and an anti-reboot, a corporate-funded raspberry at corporate IP, and a giddily dumb smart aleck committed to mocking its joke — and making it, too.
  28. The Last Victim
    Director Naveen A. Chathapuram and scripter Ashley James Louis, working from a story by Chathapuram and Doc Justin, have cobbled together a derivative and numbingly pretentious piece of work distinguished only by the relative novelty of a female lead (well played by Ali Larter) who’s as resourceful, resilient and, when push repeatedly comes to shove, purposefully brutal as guys usually are in movies like this.
  29. Senior Year
    If Alex Hardcastle’s effortfully high-spirited Netflix feature isn’t exactly good, it’s still good enough to provide reasonable throwaway fun, thanks much less to the material than to a cast that elevates it when they can.
  30. Firestarter
    The whole thing plays like “Logan” done in the worst humdrum rhythmless made-for-streaming generic style, the lighting flat, the soundtrack heavy with John Carpenter’s old-school one-man-at-the-synthesizer horror music, because if you took that sound of processed dread away you wouldn’t have much else.
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