Variety's Scores

For 8,649 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Wild Reeds
Lowest review score: 0 Persecuted
Score distribution:
8,649 movie reviews
  1. Lacks the delicate tonal control and subtle smarts required for such an intended half-surreal exercise.
  2. For a supernatural thriller that spends so much time on material that is neither supernatural nor thrilling, there’s not nearly enough effort put into credible, complex character writing, leaving the cast only so much ability to fill in the gaps.
  3. Clumsily drawn, poorly acted love triangle.
  4. Bearing a distinctly musty odor confirmed by its 2011 copyright date, this day-and-date Lionsgate pickup never achieves dramatic liftoff.
  5. Strained, sexist schlock, which raises zero jolts and only fitful chuckles with its gamely performed tale.
  6. A comedy that's vulgar, disturbing, distasteful and violent, but so is injustice and civil unrest.
    • 27 Metascore
    • 30 Critic Score
    Tries to combine romantic comedy, soap-opera parody and murder mystery, but the disparate elements never gel, and the film, about homicide at a daytime television serial, bounces around with no clue of how to reconcile or intertwine its genre conventions.
  7. A blue chip cast is wasted in the painfully unfunny ensemble comedy Niagara Motel.
  8. In this case, Montiel's awkward appropriation of gritty crime-drama conventions results in a film that's contrived and implausible, at times absurdly so.
  9. It’s hard for the audience to invest in a protagonist this solipsistic.
    • 48 Metascore
    • 30 Critic Score
    Beverly Hills Cop II is a noisy, numbing, unimaginative, heartless remake of the original film...Murphy keeps things entertainingly afloat with his sassiness, raunchy one-liners, take-charge brazenness and innate irreverence.
    • Variety
  10. The director doesn't display the spirit of a natural entertainer; while intellectual notions abound, he never grabs the audience by the hand to pull them into the tale emotionally.
    • 15 Metascore
    • 30 Critic Score
    Arthur Hiller's pacing is crude, but that seems to be the point.
  11. Overplotted and underwhelming, Breaking Point is the type of movie that finds it necessary to invent a far-reaching legal/political conspiracy just so one guy can redeem himself by overthrowing it.
  12. Kevin Costner starrer boasts an impressive English-language debut from Spanish teenager Ivana Baquero ("Pan's Labyrinth") and a well-constructed first half, but its many cliches begin to undo its spell long before a ridiculous third act squanders all remaining goodwill.
    • 16 Metascore
    • 30 Critic Score
    A couple of hash brownies short of a satisfying cinematic picnic, with far too few comic highs during the bigscreen reefer party.
  13. An ungainly, at times cringe-worthy succession of tame, telegraphed romantic mishaps, well-intentioned if unconvincing sentimentality, and some of the least authentic teenage dialogue this side of the "Friday the 13th" franchise.
  14. Picture looks and sounds like an Off Off Broadway play.
  15. Cheerfully exhorting imagination, creativity and bravery in children while demonstrating none of those virtues itself, The Hero of Color City proves to be a dispiritingly colorless feature-length babysitter.
  16. The film replaces choreography with metronomic editing, while one-note overstatement drowns out character development.
  17. Defiantly uncommunicative picture.
  18. A weekend romp for four middle-aged buddies devolves into a drug-fueled, suicidal hell in Mark Pellington's ill-conceived and executed I Melt With You, a work of extreme self-indulgence.
  19. The result is a movie with an exceedingly narrow target audience that should test Will Ferrell's appeal among boys maybe ages 12-14 -- about the only demo likely able to endure this laborious mess.
  20. As hard as metal and just as dumb, Paul W.S. Anderson's Death Race couldn't be further from producer Roger Corman and director Paul Bartel's goofy, bloody 1975 original, "Death Race 2000."
  21. On a moment to moment basis, however, picture continuously skirts very close to the ludicrous in its advanced-stage grimness and outre forms of torture foreplay.
    • 36 Metascore
    • 30 Critic Score
    The irony is that this film about the superficiality of celebrity-crazed Western society is itself somewhat superficial.
  22. A picture so thoroughly generic as to suggest a contraption assembled from spare parts with the aid of a how-to manual.
  23. So episodic and flat it should be a letdown even to those amused by the original.
  24. This crude, shrill day in the life of three ill-matched Manhattan women will prove as irksome to most viewers as it is to the protags.
  25. This is the kind of movie that was doomed on the page, both by an inherently problematic premise and ill-conceived character motivations.

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