Variety's Scores

For 11,038 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 I Am Not Your Negro
Lowest review score: 0 Wash Dry and Spin Out
Score distribution:
11038 movie reviews
  1. Lambert brings a forlorn dimension to his seductive young role, but Bell never really convinces as the older woman. Despite flirting with controversy, the actress seems reluctant to plunge fully into potential unlikability, nor does the film quite give her the chance.
  2. A lifeless, workmanlike comedy conceived to provide holiday shoppers an inoffensive respite from the mall.
    • 38 Metascore
    • 30 Critic Score
    Pet Sematary marks the first time Stephen King has adapted his own book for the screen, and the result is undead schlock dulled by a slasher-film mentality – squandering its chilling and fertile source material.
    • 57 Metascore
    • 30 Critic Score
    Although well-made, this screen adaptation of Stephen King's Cujo emerges as a dull, uneventful entry in the horror genre. Novel about a mad dog on the rampage occupies a low place in the King canon, which is understandable if the film's stupefying predictability is an accurate reflection of the book.
  3. Bad dialogue and bad acting might convince some of the authenticity behind Bad Posture, but there's no getting around the tedious navel-gazing of Malcolm Murray's fiction debut.
  4. A mildly entertaining but dramatically messy kidpic.
  5. This wrong-headed dramedy peddles forced warm-fuzziness and insincere sentiment on the backs of an all-star cast.
  6. Chaos may not quite be "the most brutal, horrifying film ever made," as its garish ads promote. But it does contain moments as thoroughly sickening as any in Herschell Gordon Lewis' or Lucio Fulvi's bloody exploiters.
  7. It’s like watching the lamest Indiana Jones sequel ever imagined, minus Indiana Jones.
  8. Awful scripting and an unimaginative approach to re-imagining material's potential have left Universal with a theatrical in-and-outer on its hands.
  9. Arid, self-consciously arty and emotionally uninvolving.
  10. A low-budget musical so steeped in nostalgia that accusing it of being too old-fashioned is like accusing "Gone With the Wind" of being too Southern, (Standard Time-as this film was once titled) wears its heart, intentions and limitations on its sleeve.
  11. Relying on a synthesized score, over-saturated cinematography and frustratingly cliched dialogue, this is an extremely generic, truly empty tale of a drug smuggler involved with cops and criminals alike.
  12. Partially biographical story of a rich kid's unplanned encounter with the Marines and his even more random romance with a schizophrenic movie starlet is contrived and emotionally incomplete, and strained further by self-consciously cockeyed dialogue.
  13. Picture has some redeeming features, like its glossy, fashion-shoot-inspired black-and-white look, and a clutch of respectable performances among some very poor ones from the toothsome young cast, but the script is a mess, the characters barely sympathetic.
  14. Passably interesting psychological study of emotionally wounded characters until it commits dramatic suicide by showing its true colors as a tricked-up "Fatal Attraction" wannabe.
  15. Though Parker’s assured performance, along with the enchanting backdrop, eases the action toward harmless gentility, they’re hijacked by a plot that mimics the plate-spinning business of classic screwball, but moves at agonizing half-speed.
  16. For all of its 93 minutes, you never feel anything significant is at stake for anyone — save for a paycheck.
  17. Conservatives score a few political points but aren't very funny in An American Carol, a cheesy spitball directed at the very large target of a Michael Moore-like filmmaker.
  18. An almost bizarrely limp, emotionless, blank greeting card of a movie, this purported romantic comedy-drama contains little of the three, at best serving as a sort of extended L.L. Bean advertisement, full of fabulously shot footage of Eastern Canadian vistas and the well-dressed rustic yuppies who live there.
  19. The main thing early reels have going for them isn’t any actual cleverness or wit, but Neff’s pleasant riffing within a stock slacker-bro role. When his character stops having fun, so does the audience. Though needless to say, the unimaginative references to prior/better horror flicks just keep on a-comin’.
  20. Nothing feels fresh here — not even Christopher Plummer hamming it up as a crusty-coot grandpa — and Philip Martin’s routinely polished direction only underscores the cliche-composting of Richard D’Ovidio’s script.
  21. Anonymous plods through a low-stakes tale that’s almost frictionlessly insulated against real-world consequences.
  22. The film’s haphazard structure and freewheeling arguments only serve to reinforce tired pothead cliches — it’s paranoid, prone to starry-eyed dorm-room philosophizing, and it doesn’t know when to quit.
  23. Penn’s veiny, sweat-glazed biceps are the most objectively impressive feature of this rote, humorless thriller, a distinctly unconvincing attempt to refashion the star — who also co-wrote and produced — as a middle-aged action hero in the Liam Neeson mold.
  24. Miscast and miscalculated, Miss Conception hopes to collect on Hollywood's recent baby-on-board craze, delivering instead the least credible take on human pregnancy since Arnold Schwarzenegger gave birth in "Junior."
  25. Utterly drab and desperate for laughs.
  26. It’s as hard for us to get invested in his journey as it is for the film to find a narrative foothold.
  27. This ludicrous outing from helmer Christian Alvart ("Pandorum") and scribe Ray Wright ("The Crazies") takes its psycho-satanic babble much too seriously, and should elicit more laughs than frights.
  28. There’s a fatal shortage of zingers to supplement its exhausting zaniness.

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