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. Cyrano
    With its swooping cameras and beyond-dazzling production design, Wright’s style is more alive than ever, giving new meaning to the word “panache.”
  2. Becoming Led Zeppelin
    Becoming Led Zeppelin is full of essential stuff, but on some level it feels like a Led Zeppelin infomercial.
  3. King Richard
    The beauty of Zach Baylin’s script is that while the arc is familiar, hardly a single detail could be described as clichéd, seeing as how the specifics are virtually unprecedented.
  4. Unclenching the Fists
    A frenzied vocal tone and wild, untethered physicality connects all the performances, with every character seemingly eager to burst out of their own body, and by extension, the life in which it’s stranded.
  5. Boiling Point
    There’s a barreling momentum to the filmmaking that feels true to the cut and thrust of restaurant life, regardless of the script’s digressions.
  6. The Gateway
    The Gateway moves quickly enough to hold attention, if not to cover up its ill-matched individual elements, let alone meld them into a coherent vision.
  7. Best Sellers
    Its portrait of an easy-target industry goes soft just when it needs a little added spine, while the film’s abrupt tonal transitions from jaunty comedy to cross-generational weepie occasionally come at the expense of the characters’ own credibility. But it’s the overarching niceness of “Best Sellers” that sees it through.
  8. Kate
    Winstead makes you believe, however improbably, that if a woman like Kate actually existed outside a screenwriter’s imagination, she wouldn’t be far off from this portrayal: isolated, mule-headed and ready for a change.
  9. Last Night in Soho
    Wright’s particular affections for B-movies, British Invasion pop and a fast-fading pocket of urban London may be written all over the film, but they aren’t compellingly written into it, ultimately swamping the thin supernatural sleuth story at its heart.
  10. Julia
    Julia offers us glimpses of a complex, brittle personality beneath the robust persona, but is either too cautious or too genuinely besotted with the latter to pry it out.
  11. Spencer
    Spencer is an intimate speculative drama that stays as close as it can to everything we know about Diana. At the same time, the movie is infused with a poetic extravagance.
  12. Dune: Part One
    Dune is out to wow us, and sometimes succeeds, but it also wants to get under your skin like a hypnotically toxic mosquito. It does…until it doesn’t.
  13. C'mon C'mon
    C’mon C’mon proves plenty poignant, but it’s less entertaining than it might have been.
  14. The Card Counter
    Part of the beauty of poker is that it doesn’t represent anything. It’s just a game. The Card Counter is a good game that forgets it’s a game by working so hard to be a statement.
  15. The Hand of God
    The Hand of God has some good scenes, but it’s the kind of portrait-of-an-artist drama where you watch the insults, the clashes, the assaultive attitude of it all and you think: Is this what it was actually like for the young Sorrentino growing up in Naples? Or does he simply have an aversion to scenes that don’t hit you over the head
  16. The Power of the Dog
    All of this should build, slowly and inexorably, in force and emotion. But for a film that’s actually, at heart, rather tidy and old-fashioned in its triangular gamesmanship, “The Power of the Dog” needed to get to a more bruising catharsis. In its crucial last act, the film becomes too oblique.
  17. Parallel Mothers
    It’s a film of cascading twists and turns, of thickening complication, of high family drama. Hearing that, you might imagine that it’s a movie of high comedy as well — a giddy and ironic Almodóvarian stew of maternal diva melodrama. But Parallel Mothers, while it keeps us hooked on what’s happening with a showman’s finesse, is not a comedy. It’s not an over-the-top Pedro party.c
  18. Cinderella
    For all the innovative, intelligent decisions made, there are an overwhelming number of frustrating creative choices. The movie’s pacing is inconsistent, especially when it comes to character development, which can feel at once underdeveloped and overstuffed.
  19. Nuuccha
    The film is most effective when its narrow focus on a single, desperately poor Yakut couple allows it space to be fascinated by the straightforward ethnographic details of this little-seen time and place. But its value as human drama wanes as its allegorical impulses become more insistent and the characters are reduced to ciphers in the end, more important for what they represent than for who they are.
  20. Prince
    We are unusually invested in a middle-aged professional woman’s interior life, which is a refreshing place to be. But we are never sure of his heart the way we are of hers and so Le Prince feels entirely truthful to her story, and maybe just a little unfair to his.
  21. Clara Sola
    Mesen’s delicate yet earthy, thoughtful yet sensual movie never tips its hand as to whether Clara’s abilities are real or imaginary — indeed it makes the line between fact and fantasy seem as nonsensical as it might to a horse — and it pays off in one of those obscurely uplifting endings.
  22. Hit the Road
    Like this extraordinary, ordinary family, latticed together by love yet supremely alive in their own individual hearts, Panah Panahi is not just part of a tradition, but his own filmmaker, finding new resonances in territory so familiar its power to surprise should have been thoroughly exhausted by now, but that here feels like a whole new universe.
  23. The Braves
    Without any modulation in the brazen, head-on-collision presentation, once the story takes a turn for the sappy, there is really nowhere for any subtlety or subtext to hide.
  24. The Last Thing Mary Saw
    Vitaletti’s storytelling, and ability to drum up tension or scares, is less potent here than his attention to evoking a general climate of close-minded religious hypocrisy.
  25. Deception
    Arnaud Desplechin’s Deception is a strange, stifling but frequently intriguing attempt to find a cinematic match for the literary voice of Philip Roth, from his autofictional 1990 novel of the same name.
  26. Mark, Mary & Some Other People
    Rosenfield and Law are such a likable duo — he clownish and earnest in equally uninhibited fashion, she brazen and fierce with an underlying sweetness — that the film remains amusing and spry even as it coasts along a path that will feel familiar to most rom-com fans.
  27. Clean
    Obvious and derivative in borderline-shameless fashion, it’s a B-movie knock-off with little originality and even less flair.
  28. Yakuza Princess
    While it generally lacks dramatic oomph and the story is confusing at times, Yakuza Princess delivers plenty of visual excitement.
  29. Wars
    There’s no obvious release or relief here, however: Ducharme’s is an untidy reckoning, as solemn and reticent as the film surrounding her.
  30. Every Single Minute
    Hníková’s absorbing, intelligent, subtly provocative film resolutely avoids passing judgment on the wisdom of raising a boy in the bubble of his parents’ undivided attention; just see if you can do the same.
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