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. The Life Ahead
    The film, modest and often maudlin on its own storytelling terms, runs on a current of beyond-the-screen devotion that makes it compelling. Without that unquantifiable x-factor presence in the frame, it’s hard to say what reason this Netflix release would really have for being.
  2. Holidate
    Briskly directed by John Whitesell, written by Tiffany Paulsen, Holidate won’t change your mind about the tread-worn challenges of romantic comedies, but its leads leverage their charms nicely.
  3. Come Play
    Even though the kid is the hero we should clearly be rooting for, the filmmaker conjures equal amounts of empathy and compassion for the monster. That serves to add complexity to the characterizations, but balancing both sides muddles the poignancy of the climax.
  4. The Craft: Legacy
    The original “Craft” may be a mess, but it does have a legacy, and this ain’t it.
  5. Belushi
    In the film, Belushi’s own letters betray his fear that he had reached the point of no return. Yet there can be a shadow hint of intentionality to all that. Belushi was a bighearted person who craved no limits. In some terrible way, he went out like the rock star he was.
  6. Crazy, Not Insane
    You may not agree with everything Dorothy Lewis says in “Crazy, Not Insane,” but you come out of the movie alive to the place where evil and insanity meet and then fall back apart.
  7. After We Collided
    “After” was merely awful. After We Collided is atrocious. Naturally, it’s proving an enormous pandemic-era hit.
  8. Radium Girls
    Scrupulously sincere in its approach and well-meaning to a fault in intention, the film aims for inspirational true story, but is sadly uninspired, and its relationship to real history is obscured by the schematic way it is fictionalized.
  9. Coming Home Again
    While this is not exactly a premise with mass appeal, Wang’s movie is still an unassuming exercise, defiantly in contrast to Hollywood’s typically over-sentimental terminal illness fare.
  10. Friendsgiving
    This vagueness of purpose wouldn’t matter much if the film were genuinely, raucously funny, but comedian-turned-filmmaker Paone’s best gags are the kind to raise a smile rather than a laugh.
  11. Borat Subsequent Moviefilm
    Borat has lost none of his bite, treading that same fine line between sophomoric humor and pointed political satire.
  12. White Noise
    White Noise is a deadly serious movie, but it is also, in a certain way, a funny one, because it captures the comedy of how much trouble even the influencers of hate now have squaring their lives with their belief systems
  13. The Witches
    Anne Hathaway’s performance provides the film with a sick-joke center of gravity, and Zemeckis, sticking to Dahl’s elemental storyline, stages it all with a prankish flair that leaves you buzzed.
  14. Fireball: Visitors from Darker Worlds
    “Fireball” is a documentary about meteorites, but what makes it a Herzog film is that it’s in love with meteorites.
  15. Pink Skies Ahead
    The catchy title’s a clever way of saying “It gets better,” and in the end, that feels as true for Winona as it does for the high-potential writer-director who created her.
  16. The Opening Act
    Becoming a successful stand-up comic is an uphill climb, one that not everybody is cut out for, and The Opening Act is a likable ode to those hard knocks.
  17. The Devil Has a Name
    What should have been a galvanizing David-versus-Goliath story pales in comparison with Amazon series “Goliath,” which is comparably colorful but far more coherent as it hits so many of the same beats.
  18. Shithouse
    This is a modest film, well-acted but rather clumsily assembled, that almost certainly would have benefited from an in-person SXSW, where it’s possible to bask in the shared laughter of an enthusiastic first screening.
  19. I'm Your Woman
    This is the kind of movie where the most dynamic thing in every scene is the art direction, followed by the natty retro costumes (which Jean must have used the cash to buy, since she didn’t have time to pack), and only then comes the people.
  20. The Kid Detective
    Both entertainingly old-fashioned and defiantly fresh.
  21. What the Constitution Means to Me
    Director Heller does a better job of adapting Schreck’s play than the team behind Disney Plus’ recent “Hamilton” film, in part because the underlying production is so much simpler.
  22. 2 Hearts
    It’s a softheaded piece of morbid romantic treacle — two parallel cloying love stories for the price of one.
  23. Love and Monsters
    In Love and Monsters, love is good, monsters are bad and feeling like Tom Cruise is “awesome.”
  24. A Babysitter's Guide to Monster Hunting
    A Babysitter’s Guide to Monster Hunting simply pushes forward insistently and efficiently in a spirit of organized, slushie-colored fun, which isn’t quite the same as a sense of humor, much less a sense of urgency.
  25. Rebecca
    For about three-quarters of the running time, Rebecca does a respectable job of navigating between respect for the source and establishing its own distinct identity. And then, at precisely the moment where it stands to make a few enlightened improvements . . . this Rolls-Royce of an adaptation veers off the road.
  26. Honest Thief
    It’s a serviceably energized and routine action crime movie, with a few slammin’ fistfights and gun battles, and it proves once again that Liam Neeson is an actor who will take a paycheck gig without treating it like one.
  27. French Exit
    Yes, French Exit blisters amid the rarefied air of Tom Wolfe or Whit Stillman, but it’s nicely cut with the schadenfreude of “Schitt’s Creek.”
  28. Bellingcat: Truth in a Post-Truth World
    It’s exciting, cloak-and-dagger stuff, no less exciting (or valid) for having been done from someone’s armchair at home. Pool pulls some cheap shots by cutting to Putin, Trump, and Kim Jong-un whenever he needs to personify who they’re up against. But in a world where those three are leading the charge to break the news, Bellingcat are doing their best to put it together again.
  29. Over the Moon
    Sometimes it’s OK for an adventure to be just an adventure, and this one gets in the way of its own assets, while pointing to the potential of future journeys from the Netflix animation team.
  30. The War with Grandpa
    The combat is neither funny nor intense. The War with Grandpa is like “Home Alone” replayed as a tit-for-tat battle of logistical booby traps that never rises above the innocuous slapstick benign.
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