Variety's Scores

For 10,772 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 Citizenfour
Lowest review score: 0 The One
Score distribution:
10772 movie reviews
  1. Wallow in Hollywood hipster self-absorption.
  2. This transparent piece of propaganda blatantly overplays its hand.
  3. Feels larger in scope yet sorely lacking in originality.
  4. As it stands, there are only enough comic ideas here, most of them bad ones, to reach 82 minutes; the other 11 are taken up by a postscript scene, a blooper, and closing credits that move, in the words of Scarlett O’Hara, as slow as molasses in January.
  5. [A] misbegotten mess.
  6. Manages the curious feat of being at once relentlessly energetic and almost continually uninvolving; the title more or less sums up the amount of pleasure to be had here.
    • 39 Metascore
    • 30 Critic Score
    Tied together with some humdrum animated sequences, three vignettes on offer obviously were produced on the absolute cheap, and are deficient in imagination and scare quotient.
    • Variety
  7. This is by any measure a dreadful movie, a chintzy, CG-encrusted eyesore that oozes stupidity and self-indulgence from every pore. Yet damned if Proyas doesn’t put it all out there with a lunatic conviction you can’t help but admire.
  8. An aggravating romance that runs only 78 minutes but ends not a moment too soon.
  9. The film’s muted yet still rather flamboyant terribleness derives from the fact that it seems to be juggling three or four borderline schlock genres at once.
  10. Screechily abrasive and sorely lacking in elements that engage the imagination.
  11. Feels like a prolonged episode of "Power Rangers" minus the colorful costumes. Whatever charm the original had was clearly lost in translation, resulting in a tedious exercise that 6- to 10-year-olds may find mildly diverting.
  12. While the 1984 film has aged, its now-familiar jolts still pack more punch than this pic's recycled ones, which sometimes register so tepidly as to cause snickers.
  13. While Wenders has argued intelligently in interviews for the merits of realizing character-driven drama in three dimensions, this isn’t the most helpful case-maker — not least because Norwegian writer Bjorn Olaf Johannessen’s screenplay has barely been rendered in two.
  14. A risible excuse for comedy that treats compulsory education as a joke and violence as a reasonable way to solve problems.
  15. This is all enormously disappointing, of course, since the best we could hope for from a live-action "Avatar" adaptation is the mind-blowing equivalent of our first encounters with wire-fu, rather than this cartoony nonsense.
  16. Director Ross Katz’s The Choice, which mimics “The Notebook” in everything but meaningful conflict, believable characters, style and emotional honesty, is a very unsuccessful story.
  17. Director Jon Turteltaub's insistence upon hammering every point home with giant closeups and relentless musical underlining makes this insufferably cloying and sickly sweet.
  18. The cross-dressing "Madea" star seems out of his depth playing the hard-boiled detective made famous by Morgan Freeman in "Along Came a Spider" and "Kiss the Girls." Even action helmer Rob Cohen ("The Fast and the Furious," "XXX") seems to be off his game here.
  19. It’s only the Brazilian-born Da Costa who seems to be trying to create a real character.
  20. CQ
    Roman Coppola's first film has sympathetic aims but is distressingly lacking in flair, style, wit or fun.
  21. Guy Ritchie shoots a blank with Revolver, which replays the low-life criminal shtick from his first two features with an ill-advised overlay of pretension. The action, attitude and wise-guy talk all feel moldy this time around.
  22. A soundtrack in search of a movie, Empire Records is one teen-music effort that never finds a groove.
  23. Vehicle for Dana Carvey as a chameleonic crime-fighting imbecile is noisy, colorful and fart-gag-filled enough to amuse undiscriminating auds under the age of 10.
  24. This generic horror meller would be most at home debuting on Syfy -- perhaps double-billed with "Pinata: Survival Island."
  25. It’s hard to imagine that even the least demanding of tykes will ask for a second sampling of this thoroughly second-rate animated feature, which has all the charm, and twice the volume, of a barking dog.
  26. Nobody — not even viewers willing to settle for good, unclean B-movie fun — is done any favors by something as crude as (re)Assignment, which gracelessly mashes together hardboiled crime-melodrama cliches and an unintentionally funny “Oh no! I’m a chick now!!” gender-change narrative hook.
  27. They ought to be a whole lot scarier than they are in this tepid genre offering from director Robert Harmon, whose debut film "The Hitcher" set a high bar for screen terror in the 1980s. Pic looks like a holiday gobbler.
  28. Essentially a homemovie cobbled together with bland talking-head interviews, director Yuliya Tikhonova’s film offers little to interest jazz aficionados or those simply curious about the band’s lineup of veteran sidemen from the era of classic jazz.
  29. One long tease -- not in a voyeuristic sense, since its heroine, as nakedly incarnated by pouty Polish sexpot Natalia Avelon, hides none of her obvious talents under a bushel.

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