Variety's Scores

For 10,768 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Carol
Lowest review score: 0 Officer Downe
Score distribution:
10768 movie reviews
  1. Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama.
  2. This cautionary melodrama about a Korean-American teen girl's slide into depravity is too inconsequential and too earnest to belong in the So Bad It's Good category; rather, it's merely bad.
  3. Goes down like sour eggnog on Christmas Eve.
  4. An underwhelming survival thriller.
  5. A repetitious, borderline-silly vanity project.
  6. With a low-budget look, cliched dialogue, a stale plot and so-so acting, this supernatural thriller is unlikely to achieve the phenomenal success of its fabled predecessor.
  7. This tonally all-over-the-place drama fails to convince.
  8. A textbook example of a movie that betrays its audience, Entrance begins as a mildly interesting slice-of-life look at a struggling Los Angeles cafe worker, then impulsively devolves into a manipulative slasher picture.
  9. At some point in the production process, co-writer/director Greg McLean must have believed he was making John Cassavetes’ “Poltergeist,” but this odd fusion of psychodrama and supernatural hokum gets away from him.
  10. Paa
    Though unrecognizable, Amitabh Bachchan is the star of -- and the only reason to go see -- Paa.
    • 24 Metascore
    • 30 Critic Score
    Master manipulator Stephen King, making his directoral debut from his own script, fails to create a convincing enough environment to make the kind of nonsense he's offering here believable or fun.
  11. Plotless, pretentiously literary and lousy at explaining geography, the movie fails to put Yang’s vision into a fictional framework that’s even remotely engaging.
  12. Ritter’s performance is the liveliest thing in a callow, shallow cautionary tale, which wears its influences on its artfully frayed sleeve and no closer than that to its heart.
  13. With plot elements cobbled together from recent animated hits, the blandly executed pic might as well be titled “Happy Minions of Madagascar’s Ice Age.”
  14. Led by a trio of lackluster performances from Alan Rickman, Rebecca Hall and “Game of Thrones” thesp Richard Madden, this awkward, passionless drama conveys neither the sensuality nor the drawn-out sense of longing required by its period tale of a young secretary who falls in love with his employer’s wife.
  15. A mediocre ensemble comedy-drama that's not particularly funny, involving or even nostalgic.
  16. Exploiting Lawrence's newfound fame is the only hope this ill-conceived, poorly executed venture has of connecting with audiences before poisonous word of mouth sends potential buyers in search of a more attractive address.
  17. When a film’s basic strategy is to cut between the past and the present, it should create ripples of anticipatory tension. But Despite the Falling Snow is one of those movies in which the cross-cutting keeps destroying all mood and momentum — it feels more like channel-surfing.
  18. Far too aggressively seamy (and ferociously foul-mouthed) to please diehard fans of traditional sagebrush sagas, this misfire offers nothing in the way of wit, innovation or even marquee allure to interest auds accustomed to edgier revisionist oaters.
  19. It's a Wonderful Afterlife is a movie to make Frank Capra roll over in his grave from indigestion.
  20. Significantly lacking in star wattage (including Perry’s own), this sluggish, relentlessly downbeat portrait of a young couple in crisis should play well to Perry’s fanbase.
    • 84 Metascore
    • 30 Critic Score
    The burning topic of Muslim (mis)representation in U.S. media is not well served by Michael Singh’s amateurish and ill-defined docu Valentino’s Ghost.
  21. Most of what Stevens has concocted here is hard to take, notably the characters' curious relationship with the rain that threatens to drown Missouri, and serves as a soggy metaphor. Sometimes it only rains in half the frame; sometimes people coming out of downpours are wet, sometimes they're not; sometimes they're wet and it's not raining.
  22. Almost everything that happens in this movie rings cloyingly false. It wants to make you laugh and cry, but you may be too busy cringing.
  23. Clooney has transformed a fascinating true-life tale into an exceedingly dull and dreary caper pic cum art-appreciation seminar — a museum-piece movie about museum people.
  24. Little more than an overworked exercise in jostling red herrings, and not particularly fresh herrings at that.
  25. This overwrought and egregiously self-serious thriller about the poisonous fruit borne of child abuse grows more ridiculous by the quarter-hour and is poised for a theatrical life span scarcely longer than that of its eponymous insect.
    • 34 Metascore
    • 30 Critic Score
    Only those in a cold sweat for their weekly horror fix will bother with this formulaic and rather lazy exercise in booga-booga scare tactics.
  26. Audience patience undergoes a far more brutal butchering than anything onscreen in Delphine Gleize's wildly over-reaching feature debut, Carnage.
  27. It's a picture that's akin to a terrarium of plastic flowers -- gaudily decorative, but airless and lifeless.

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