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. Another World
    In this hard, unblinking film, even a moral victory feels like defeat.
  2. Bad Tales
    Drowning in style but shallow in substance.
  3. America Latina
    America Latina may frequently look and sound terrific, but a Ferrari spinning its wheels is spinning its wheels just the same.
  4. The Desperate Hour
    Watts’ commitment holds the movie together. She acts as if that phone were her flesh-and-blood partner. But it’s not. It’s a device impersonating something human. And so is Lakewood.
  5. The Forgiven
    McDonagh’s characters are more complex than the initial caricatures make them out to be — perhaps, in the end, even pitiful — leaving audiences to decide how they feel about their ultimate fates.
  6. Encounter
    It’s deceptively simple yet deeply philosophical stuff, channeled by first-rate genre filmmaking.
  7. The Electrical Life of Louis Wain
    Whether one considers said work to be worthy of a feature-length movie is almost entirely beside the point, since Stephenson and Sharpe have unearthed so much else that’s engaging about Wain’s story.
  8. Belfast
    The affectionate cine-memoir is rendered all the more effective on account of young discovery Jude Hill and its portrayal of a close-knit family (Ciarán Hinds and Judi Dench and stay-put grandparents) crowded under one roof.
  9. The Eyes of Tammy Faye
    Chastain and Garfield give performances that are brashly entertaining but also canny and layered, as the characters get caught up in something far bigger than themselves. The Bakkers were hucksters of a grand order, and the film uses their spectacular greedhead soap opera to tell the larger American story of how Christianity got turned into showbiz.
  10. Il Buco
    A docufiction that tenderly, wordlessly and rather too obliquely recreates a 1961 speleological expedition to measure the depth of an unexplored crevasse in Italy’s Calabria region.
  11. The Starling
    Suffice it to say that The Starling’s emotional arcs are as narratively complete as they are psychologically dashed-off.
  12. Happening
    Happening is filmed and performed in such a delicate, skin-soft register, meanwhile, that the escalating terror of Anne’s situation is all the more pronounced, eventually pivoting into a realm of wholly realism-based body horror.
  13. 7 Prisoners
    7 Prisoners’ unfolds satisfyingly, precisely by not offering us complete satisfaction or certainty. The question hovers of whether Mateus can ever escape his prison altogether, or merely into one with more comfortable furniture.
  14. Blood Brothers: Malcolm X & Muhammad Ali
    The movie does a compelling job laying out how vulnerable this relationship was, given their faith, given Ali’s ascendency in the nation and the Nation.
  15. Dating & New York
    While following a typical rom-com pattern isn’t inherently unpleasant, the movie’s wink-wink insinuations that it’s going to take things in a novel direction, followed by its embrace of the very clichés it’s poked fun at, makes it feel disingenuous and stale.
  16. The Alpinist
    The images here are often dizzying and dazzling.
  17. The Last Duel
    Despite a brief action interlude here or there, The Last Duel turns out to be a lavishly convoluted and, at times, rather interesting medieval soap opera.
  18. The Guilty
    Gyllenhaal’s impressive, but The Guilty almost certainly would have been more effective if he’d dialed down the intensity a bit.
  19. Malignant
    It’s hard to say whether a film this bonkers “works” or not, but it’s impossible not to admire both the craft and the extravagant bad taste behind its go-for-broke energy.
  20. Dear Evan Hansen
    Dever is the best thing about this adaptation, which feels slightly less creepy in the lied-about-knowing-your-brother-to-worm-my-way-into-your-heart department, if only because Dever’s so good at balancing Zoe’s strength and vulnerability that the situation doesn’t read as a nearly 30-year-old creep manipulating a minor.
  21. Dogs
    Although the director cut his teeth working in commercials and on more comedic material, he has no trouble orchestrating the breath-catching suspense of Dogs, depicting violent confrontations with a certain chilling detachment, then reveling in the gruesome result.
  22. Memory House
    Memory House is, above all, a fable about identities lost and cultural artifacts in need of recovery that doubles as a thrilling and foreboding ride designed to rattle audiences at home and abroad with equal verve.
  23. The Voyeurs
    Writer-director Michael Mohan’s film plays like rehashed leftovers cooked up for young viewers who’ve never seen any of its superior inspirations.
  24. Halloween Kills
    Halloween night may be Michael Myers’ masterpiece, but Halloween Kills is no masterpiece. It’s a mess — a slasher movie that‘s almost never scary, slathered with “topical” pablum and with too many parallel plot strands that don’t go anywhere.
  25. Queenpins
    Gaudet and Pullapilly argue, cheekily and convincingly, that the real crooks are the unseen conglomerates who’ve created a society that devalues products and their consumers.
  26. Fauci
    It’s a documentary that merits a place in classrooms as well as theaters, as a preventative against the virus of cynicism.
  27. Sundown
    Yes, Sundown is a mystery, but it’s also a Rorschach test. No two people will see the film the same way.
  28. The Rescue
    A stunning documentary of bone-deep moral resonance and cinematic mastery that deserves to be experienced on the big screen.
  29. Marcel the Shell with Shoes On
    Don’t miss this strange, special little film.
  30. The Lost Daughter
    Through it all, Gyllenhaal assumes an unfussy, practically invisible non-style that conveys the essential (like that missing doll, visible in the background of a key scene) while privileging the performances.
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