Variety's Scores

For 10,425 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 The Happiest Day in the Life of Olli Mäki
Lowest review score: 0 Dirty Grandpa
Score distribution:
10425 movie reviews
  1. Yields few surprises, compensating with de rigueur false scares, unmemorable deaths and the kind of improbably exaggerated gore.
  2. Feels like a film from several years ago, one of the many made in the wake of "Pulp Fiction" that tried and failed to be as clever as its progenitor.
  3. Once the revisionist frisson of a black Jesus, not to mention Mary, Joseph and Judas, has worn off, one is stuck with more mundane matters such as story dynamics, visual style and character verisimilitude, much to the misfortune of the audience.
  4. Spade is tiresome in yet another smart-ass part.
  5. A dispiritingly lazy high school comedy.
  6. Slick but derivative and forgettable on all levels.
  7. A ludicrous melodrama that begs to be handled as an over-the-top sex farce is instead treated with the solemnity of a wake, albeit one with a rather lenient dress code.
  8. [A] talky, contrived and ultimately tedious actors’ exercise.
  9. Much like the ongoing real-world meltdown of its troubled star, Lindsay Lohan, I Know Who Killed Me is a disaster that exerts a perverse fascination.
  10. Assaults are filmed in ubiquitous slow-mo to better register the way bodies are thrown into the air. It’s all rather confusing, actually, since the monochromatic tonalities and weak script, lacking in any comprehensible battle strategy, tend to meld the two sides together.
  11. A cheap-looking, vaguely depressing echo of Robert Rodriguez's well-loved kidpic trilogy, assembled with minimal imagination or effort.
  12. Murphy's story lacks even the basic form that held most of "The Nutty Professor" together.
    • 50 Metascore
    • 30 Critic Score
    The virtual absence of anything interesting happening between them - like plausible attraction, exotic, amazing sex, or, God forbid, good dialog - leaves one great big hole on the screen for two hours.
  13. Calamitously uninspired and borderline incoherent, new pic lacks even those fleeting pleasures (namely, a sense of humor) that made the first film a passable popcorn attraction.
  14. Less compelling than all the behind-the-scenes Sturm und Drang. Even Baldwin, who waived his directing credit in favor of the pseudonymous Harry Kirkpatrick, has warned fans to stay away.
  15. Cleverly titled but noxious British comedy.
  16. Even for sci-fi, some logic has to enter the plot, which also needs to be devoid of major holes if it’s not to fall into ridiculousness, and that, unfortunately, is where Automata lies.
  17. 13
    A starry cast and glossier production values simply work against the black-and-white original's strengths in this stillborn thriller about a deadly game of chance.
  18. The bad news, however, is that after an intriguing opening stretch, and despite Jeremy Irons' potent lead performance, the overlong film becomes repetitive, flat and often dull.
  19. The execution is so amateurish and the script so witless the filmmakers appear to be having a far better time than the audience.
  20. Proficiently made but fatally unpersuasive in its portrayal of internecine gang warfare, this thuggish melodrama piles on the foreign accents and paint-by-numbers brutality, all served up with a grim, operatic self-seriousness that gives Cage’s antihero little room to maneuver.
  21. Tonally surprisingly coherent, Franco’s apostles seem to have directed, as Pauline Kael would’ve said, on their knees.
  22. What rankles most about Amelia is the timidity and lack of imagination with which Nair approaches one of America's most exceptional and intriguing celebrity life stories.
  23. Just as representations of human sexuality on film are often unpleasantly twisted by the grotesqueries of the porn industry, so, too, are filmic representations of religious conversion homogenized by the faith-based entertainment industry. Case in point: Debutante director Brian Baugh's To Save a Life.
  24. So fractured and so awkwardly staged that end result is an uninvolving film that’s dramatically inert and artistically shapeless.
  25. A sci-fi confection that, at best, momentarily recalls the dystopian whimsy of the director’s best-loved effort, “Brazil,” but ends up dissolving into a muddle of unfunny jokes and half-baked ideas, all served up with that painful, herky-jerky Gilliam rhythm.
  26. Gummo is personal, honest and raw, but it's also erratic, self-indulgent and full of ideas that are not fully explored. [8 Sept. 1997, p.80]
    • Variety
    • 21 Metascore
    • 30 Critic Score
    A shamelessly sentimental story.
  27. This tale of mismatched lovebirds begins with considerable charm but eventually loses its winning ways with an excess of ridiculous elements.
  28. Bringing together some of the least compelling dinner guests in recent memory at a world-class restaurant that’s about to permanently close its doors, this blandly seriocomic misfire from Spanish co-writer/director Roger Gual is too lazy to rise to the level of farce, too banal and insincere to work as drama.

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