Variety's Scores

For 10,957 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Foxtrot
Lowest review score: 0 Rollerball
Score distribution:
10957 movie reviews
  1. Universal’s attempt to find gold by bringing to new life one of the mustier items in its vaults is pure hokum and scarcely of the first order.
  2. Disappointingly plodding and ham-fistedly obvious in its attempts to offer an up-close and personal portrait of a mood-swinging, self-loathing 59-year-old Ernest Hemingway.
  3. Painfully sincere yet hopelessly amateurish dramedy.
  4. Too many scenes play like actors acting rather than life being lived as pic lurches around with ragged variations in tone.
  5. If you need a GPS unit to find your own backside, you'll be laughing uproariously at Witless Protection, a movie that's far more interesting politically than dramatically -- or, God knows, comically.
  6. The trouble with Paris Can Wait — apart from the sheer agony of being trapped with two insufferable characters as they sample gorgeously photographed food and wine that we can’t taste — is the way the movie seems so willing to let its leading lady be defined by her husband’s job.
  7. An alleged satire that’s about as funny as a communist food shortage, and just as protracted.
  8. Game ride that makes the two previous installments look like models of classic filmmaking.
  9. There isn’t a pharmaceutical cocktail powerful enough to improve the dreadful comedy of Better Living Through Chemistry.
  10. The novelty value is completely gone the second time around.
  11. The deafening Bollywood action comedy Boss, directed in broad, heavy strokes by Anthony D’Souza (“Blue”), is a relentless hard-sell star vehicle, a two-and-half-hour string of sledgehammer fighting and dancing sequences.
  12. Torpid, academic vanity project for helmer-thesp Rodolphe Marconi.
  13. By second-guessing what audiences want, Murakami falls into the same trap studios do when trying to appease mass tastes, delivering a film that features many of his familiar designs and characters but precious little in the way of personal vision.
  14. Flashbacks within flashbacks exhaust viewer patience in this snarky mix of crime, action and sadism.
  15. Irritatingly devoid of irony, the film has an unintentional but unmistakable homoerotic subtext.
  16. Third outing for prairie auteur Gary Burns is his most ambitious, and most uneven, effort yet.
  17. The big giveaway: While some of the genuine articles sporadically earned chuckles with vulgar sight gags and gratuitous nudity, Pitching Tents is too timorous to risk being truly offensive.
  18. A preposterously convoluted and exasperatingly sappy saga.
  19. Overshadowed by vastly superior sports movies like Invincible and hardly disguising its low-budget sources, pic isn't in any kind of shape for the theatrical leagues.
  20. The movie is not entirely without charm — although it’s safe to say, it’s mostly without charm. In fact, the movie has so little charm to offer that it borders on insipid.
  21. Runs through spy-movie cliches with such dogged obligation that it often plays like a YouTube compilation of scenes from older, better thrillers, generating little overall tension and only occasionally approaching basic coherence.
  22. A tedious slog alleviated only by widescreen shots of the Portuguese capital and terrific fado singing.
  23. A juiceless quasi-remake of George Romero's 1968 classic that, cardboard glasses aside, brings absolutely nothing new to the party.
  24. The road to hell is paved with well-intentioned clunkers like I’m in Love with a Church Girl, a strenuously sincere but tediously schematic and heavy-handed attempt at cinematic proselytizing for Christianity.
  25. Despite retaining the basic narrative architecture of its classic source, Hollywood Seagull too often feels like a trite, sudsy take on privilege, ambition and angst among showbiz players and wannabes — one that seemingly exists mostly to showcase real-life C-listers, aspirants and pals in the tradition of Henry Jaglom’s films.
  26. A comedy with its heart in the right place and everything else bizarrely out of joint.
  27. A remarkably mirthless and inept romantic comedy.
  28. This is one of those high-concept pictures with a big windup and weak delivery.
  29. Despite the capable presence of Jason Patric in a thanklessly one-note role, this generic chiller clings so tightly to conventions that it fails to even moderately raise one’s pulse
  30. Stylishly made, armed to the teeth and ludicrous in the extreme.

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