Variety's Scores

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For 17,847 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: 9,172 out of 17847
  2. Mixed: 7,036 out of 17847
  3. Negative: 1,639 out of 17847
17847 movie reviews
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  1. Sheryl
    "Sheryl" tells these anecdotes, and others, in a swift and captivating fashion, with the director, Amy Scott, in engaging command.
  2. Windfall
    Blending the oddball sensibility of McDowell and regular co-writer Justin Lader with the nastier genre smarts of “Se7en” scribe Andrew Kevin Walker, this low-key Netflix holds to its intriguing promise for a crisp 90 minutes, though even its climax is muted by design.
  3. Soft & Quiet
    Soft & Quiet is deeply unpleasant to watch, but that’s the point.
  4. It Is In Us All
    If as a thriller, the cryptic It Is in Us All, doesn’t thrill quite enough, as an examination of the kind of perverse death-obsession that unloved, unhappy, estranged boys can develop, it is a darkly provocative and promising debut mood-piece from Campbell-Hughes.
  5. Bodies Bodies Bodies
    Bodies Bodies Bodies, with its restless camera movement and improv-style acting and general overdramatic rambunctiousness, is like “And Then There Were None” staged by John Cassavetes for the age of Instagram.
  6. Master of Light
    The light here emanates from Morton. His curiosity about art, about his place in the world after his incarceration, makes visible the darkness he’s experienced.
  7. Panama
    One thing leads to another, at a pace that somehow feels frenetic and ponderous all at once.
  8. Umma
    Oh aces her leading role with customary aplomb, and Stewart makes for a game scene partner, but Shim’s economical-to-a-fault screenplay rarely allows them enough downtime to fully flesh out their characters.
  9. Love After Love
    Love After Love goes through the motions of classic, rousing melodrama but not the emotions.
  10. Cheaper by the Dozen
    This new adaptation’s noteworthy commentary on poignant, timely issues is often eclipsed by predictability, superficial character development and inconsistent pacing.
  11. Deadstream
    What keeps the film from being anything more than an enterprising but minor diversion is that, with Shawn being is such a loud comic character from the get-go, scares and laughs alike don’t have much space to build. Winter gives his all, entertainingly so. But the performance is also dialed too high, too soon, its ultimate payoff diminished because we’ve already had so much of this protagonist screaming, bragging and sniveling.
  12. Deep Water
    This erotic thriller is still sexy and plenty entertaining, mind you, but it’s just not very useful insofar as what it says about real relationships.
  13. I Love My Dad
    [Morosini] holds back the personal stuff you can tell a stranger but not your dad — the kind of material good comedians build their shows around — making the result feel like a sitcom more than a brutally honest movie.
  14. Josep
    The strong subject matter as well as the eponymous subject’s storied life makes one wish for a longer running time than 72 minutes.
  15. Jane by Charlotte
    Gainsbourg doesn’t cram the film with all that much material, and spares her mom the embarrassment of showing her personal clutter. She essentially goes easy on Birkin, asking intimate questions but settling for shallow answers.
  16. X
    X is a wily and entertaining slow-motion ride of terror that earns its shocks, along with its singular quease factor, which relates to the fact that the demons here are ancient specimens of humanity who actually have a touch of…humanity.
  17. Apollo 10½: A Space Age Childhood
    Turns out, this movie isn’t so much about space as it is about time travel, or more specifically, taking Linklater and his followers back more than half a century.
  18. Gold
    As a lone drifter guarding a precious quarry in deadly desert conditions in a faintly futuristic nowhereland, [Efron's] good, as anyone’s who been paying attention should expect. Beyond that, it’s a somewhat arid exercise.
  19. After Love
    Spare and pared-back in all respects ranging from performance to its clean, airily-lensed aesthetic, After Love carries bulky baggage with an elegant lightness, leaving its audience with further unpacking to do.
  20. 32 Sounds
    Full to bursting with humor, emotion and curiosity, 32 Sounds is a uniquely mind-expanding plunge into a dimension of the human experience so many of us take for granted, a rare and rewarding sonic journey with the potential to enrich our lives.
  21. The Unbearable Weight of Massive Talent
    It’s a commercial comedy that has a delirious good time poking fun at Nicolas Cage, celebrating everything that makes him Nicolas Cage — and, in the end, actually becoming a Nicolas Cage movie, which turns out to be both a cheesy thing and a special thing.
  22. The Lost City
    Even at the movie’s masks-on SXSW Film Festival premiere, The Lost City was a breath of fresh air: the kind of breezy two-hour getaway that doesn’t take itself too seriously, delivering screwball banter between Bullock and Tatum — a guilty-pleasure treasure hunt that pretends to be more progressive than it really is by alternating between who’s saving whom.
  23. Everything Everywhere All at Once
    Everything Everywhere is ultimately too much of a good thing, a novel idea driven to the point of exhaustion.
  24. Fear
    In the end, Fear offers the most beguiling kind of plea for tolerance, via antic suggestion that any other behavior is strictly for dolts whose mob mentality makes them look very stupid indeed. It’s a lesson that goes down easily with this much deadpan charm and skill on tap.
  25. The Adam Project
    The movie is a total trifle, but it’s often a diverting one — a wide-eyed sci-fi adventure with a screwball buoyancy.
  26. Offseason
    Though thinly conceived overall with not much philosophy to back its daunting visuals, Offseason still offers some genuinely spine-tingling images and sounds that will keep midnight audiences on their toes until the end.
  27. Turning Red
    Irresistibly cute and thoroughly unashamed of its own silliness, Turning Red may be second-tier Pixar, but the emotions run every bit as deep as in the studio’s best.
  28. Huda's Salon
    On the whole, Abu-Assad is less successful in braiding the respective tales of Reem and Huda through Eyas Salman’s editing. But eventually the seams show and clumsy jumps between the two locations feel strangely episodic, losing Huda’s Salon some of the urgency it has claimed in its earlier moments.
  29. The Weekend Away
    Ultimately there are a few twists too many, pushing the story into a realm of excess contrivance. There’s not enough time or nuance to lend numerous narrative turnabouts plausibility.
  30. Asking for It
    In execution (and there are precious few of those), Asking for It is too much like its cardboard heroines: edgy on the outside, empty within. It’s the “Charlie’s Angels” freeze-pose of rape-revenge movies.
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