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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  1. Downfall: The Case Against Boeing
    Riveting ... Kennedy not only builds a case against Boeing but offers an object lesson in the tragic consequences of corporate greed and hubris.
  2. Utama
    [A] sublime, quietly elegiac feature debut.
  3. The Territory
    This short, sharply crafted Sundance premiere makes an impact with both its bleak, blunt messaging and its muscular formal construction, as the turf war in question takes on the heated urgency of a thriller.
  4. Leonor Will Never Die
    Escobar is after something deeper than parody. She wants audiences to question how fictional strongmen have been idealized as real-world saviors.
  5. I Didn't See You There
    I Didn’t See You There is affecting even when it shuts us out, coming across as the sincere, frustrated expression of someone who’s tired of explaining himself and his position even to a sympathetic audience.
  6. Navalny
    The film flashes back to the poisoning, and it could be the most sickening and calamitous suspense-thriller episode you ever saw.
  7. The Exiles
    Columbus and Klein present a palimpsest of erratically overlapping perspectives. The results are untidy and unbalanced, but derive considerable energy from that eccentric approach.
  8. Resurrection
    It winds up several stops north of bonkers, in a finale that shoots for transgressive, psycho-biological role-reversal, but plays like 1994’s Arnold Schwarzenegger comedy “Junior” given a torture-porn makeover.
  9. Nanny
    Jusu meticulously calibrates the interactions between her characters, revealing a nuanced understanding of race and class relations.
  10. The Princess
    A perfectly timed, compulsively watchable once-over-lightly documentary. ... After all [the recent] dramatic treatments, it’s galvanizing to see the real story laid out exactly as it happened — or, more precisely, as it happened and as it was presented to the public, those being, quite often, two very different things.
  11. Nothing Compares
    [An] incisive and poignant documentary ... Sinéad O’Connor was a fire that went out too fast. "Nothing Compares" makes you see it’s still burning.
  12. Palm Trees and Power Lines
    Palm Trees and Power Lines finds a truth, one it wrenches out of an experience.
  13. La Soga: Salvation
    Despite the mayhem, the film remains curiously inert, unable to generate even the B-grade buzz of a lower-tier Liam Neeson paycheck picture.
  14. In the Forest
    This quasi-horror tale of bickering vacationers running afoul of disturbed locals strings together various well-worn clichés with a notable lack of suspense, plausibility and style, while excelling in the realm of characters behaving like complete idiots.
  15. A Taste of Hunger
    The result certainly isn’t fast food, but neither is it fine dining.
  16. Home Team
    Kevin James is at once the film’s most obvious brand signifier and its most surprising asset: As a heavily fictionalized Payton, his surly hangdog energy gives this corndog of a movie what flavor it has.
  17. The Ice Age Adventures of Buck Wild
    While there are certain shots that provoke an emotional pull, whether that be fear, sadness or wonderment, there’s a synthetic quality to them. It leaves us yearning for a full immersion into this world of make-believe. Environments lack depth and dimension, coming across flat and uninteresting.
  18. You Won't Be Alone
    The film’s last act brings everything full circle in a way that should satisfy both horror and art-house audiences, but then the movie, like its protagonist, is never content to be just one thing.
  19. Watcher
    Watcher, if it has an agenda beyond being a fun, shivery, fish-out-of-water chiller, is not so much a manifesto to Believe All Women as it is a reminder to all women watching to at least believe ourselves.
  20. Speak No Evil
    The director shoots and cuts almost every scene so that the most innocuous action seems charged with the expectation that something awful is about to erupt, cranking viewer tension to an unpleasant degree.
  21. Something in the Dirt
    The bargain Benson and Moorhead make with audiences goes something like this: If we buy in, then we can participate in what often feels more like an elevated form of play than some attempt to compete with slick, studio product.
  22. Master
    Not all of Diallo’s thematic queries land, and at times, she weakens her ideas by over-explaining them. Nevertheless, her fearless interrogation resonates like a penetrating scream you can’t unhear.
  23. Honk for Jesus. Save Your Soul.
    Writer-director Adamma Ebo’s indie comedy (produced by sister Adanne) should tickle those who share her skepticism of organized religion — especially the profit-oriented variety — but doesn’t go much deeper than the 15-minute short film on which it’s based.
  24. Hatching
    Amid the mischievous mayhem that ensues, Bergholm and Rautsi deserve credit for not abandoning Tinja’s mother.
  25. God's Country
    Julian Higgins’ first feature can be taken as a drama with thriller elements or a low-key thriller with atypical dramatic nuance, working either way as a quietly effective balance between genre, social issue and character study elements.
  26. Emily the Criminal
    Despite the fact that the camera rarely backs away from studying Plaza’s wary eyes and tense mouth in close-up, this character piece feels as distanced from its taciturn subject as if it was merely monitoring her on security camera.
  27. Alice
    The power of the film — and of Palmer’s phenomenal performance — is watching Alice grow into her voice.
  28. Bob Spit: We Do Not Like People
    “Bob Spit” is most notable for its formal approach, which intermingles animated interviews of Angeli with a bizarre, at times surreal narrative featuring characters from his comic strips.
  29. Living
    Living isn’t nearly as subtle as it purports to be, although it can feel that way, considering how much these characters hold back — and this, one supposes, is what audiences want from an Ishiguro script.
  30. Good Luck to You, Leo Grande
    McCormack is fantastic in a role so subtle it could appear flatlined and phony if people aren’t playing attention.
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