Variety's Scores

For 10,157 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: 60
Highest review score: 100 Master and Commander: The Far Side of the World
Lowest review score: 0 Outta Time
Score distribution:
10157 movie reviews
  1. Seemingly caught between a daring impressionistic approach and a pedantic recital of dates and locations, this three-hour endurance test is marked by sincere adoration of its subject.
  2. This high-grade concert film will enthrall fans and amuse more open-minded newbies, though it suffers from the most dynamic material being largely clustered in the pic’s front section.
  3. The lead performers, the brighter fillips in Daniel Taplitz’s screenplay and Marcos Siega’s (“Pretty Persuasion”) assured direction make this a pleasing item overall.
  4. Ups the self-parody so much that it's practically a Wayans Brothers spoof, albeit with fewer jokes.
  5. Guggenheim is such a fascinating figure that few will snipe at a character analysis that rarely gets below the surface.
  6. Director Vincenzo Natali (“Splice”) is more effective at sustaining clammy suspense than hiding all the holes in Brian King’s script. But top-billed Abigail Breslin (“Little Miss Sunshine”) is effective enough to generate a rooting interest in the plucky protagonist of the piece, and to sustain interest when narrative logic turns fuzzy.
  7. The movie is murky and disjointed, held together not so much by what happens as by a vague atmosphere of obsession.
  8. Director Bert Marcus’ Champs is the moviegoing opposite of a prize fight, a slick but not particularly stylish documentary that actually becomes more focused and energized in the late rounds.
  9. Harrelson shines, particularly in framing scenes with Sandra Oh as a tactful court psychiatrist.
  10. Blood Father is trash, but it does capture what an accomplished and winning actor Mel Gibson can be. Just because he lost his bearings, and his career, doesn’t mean that he lost his talent.
  11. An unembarrassed, high-octane demonstration of the virtues of a U.S. military with a mission, the latest war pic from 20th Century Fox -- a studio with a proud tradition in this field -- couldn't be better timed to fit the popular mood.
  12. This triumph-of-the-underdogs tale is enjoyable in the retelling, despite its repetitious hammering of the message.
  13. Will Reiser's semiautobiographical script initially prescribes too artificial a story treatment for its characters but is rescued by a genial, low-key vibe that builds in sensitivity and emotion up through the final reels.
  14. The temptations of allowing a promotional video to seep inside a genuine non-fiction study nearly overtake East of Havana and its look at a bubbling hip-hop culture in Cuba.
  15. Kids will like Mimzy if for no other reason than it doesn't talk down to them.
  16. Picture takes genre helmer Xavier Durringer ("Chok-Dee") back to his theater roots, with most of the narrative mayhem and laughs coming from the picture's sharp dialogue and strong work by seasoned thesps, who just manage to avoid caricature.
    • 57 Metascore
    • 60 Critic Score
    While engaging, pic eventually betrays itself as having a trivial attitude to its chosen subject, with a climactic scene that is genuinely, but inappropriately, amusing.
  17. In keeping with Gitai’s typically austere oeuvre, it’s a long, slow and sober piece — one could even call it a documentary, despite the fact that actors have been hired to perform deposition scenes derived directly from Shamgar transcripts.
  18. Strongly cast, long-limbed yarn contains some of Ratnam's best stuff in its first half but script weaknesses mar the later going and film's overall impact.
  19. Like too many of Sayles’ films, Go for Sisters seems bound to slip through the cracks, not quite memorable enough to make a lasting impression.
  20. The more Dayveon attempts to up the dramatic and moral stakes of its narrative, the less persuasive it is as idiosyncratic, indigenous storytelling.
  21. Helmer John Luessenhop ("Takers") and a small army of scripters go back to the bloody roots of the long-running franchise to concoct a better-than-average horror-thriller that relies more on potent suspense than graphic savagery or stereoscopic tricks.
  22. Notwithstanding some sentimental beats, Peng achieves a delicate balance between bleak realities and a life-affirming attitude, capped by a predictable but necessary catharsis.
  23. With the combination of mobster characters and heavily R&B, hip-hop and disco/soul tune orientation of the soundtrack, pic has a more streetwise feel than most animated fare, which is not to say that it has street smarts.
  24. More than passably amusing.
  25. Though rough edges are very much part of picture's fabric and charm, the current two-hour-plus edit is too choppy, with many sequences feeling rushed or underdeveloped.
  26. Robinson's script is alive to the material's literary roots, although there is a sense that the brakes have been applied so as not to push into territory perceived as too esoteric for American teenagers.
  27. Odd mixture of ultra-sleek visuals, psychological probing, "Paper Moon"-like father-daughter swindling, self-improvement efforts and abrupt tough-guy stuff keeps the picture percolating, even if it seems too artificial to genuinely convince on an emotional or dramatic level.
  28. Up until its unfortunate third-act detour from intriguing verisimilitude to frustrating abstraction, director Marcin Wrona’s Demon enthralls as an atmospheric ghost story with a cheeky undercurrent of absurdist humor.
  29. Crude, sophomorically homophobic but frequently funny, pic also overstays its welcome a bit and indulges in some juvenile excesses. All told, though, The 40 Year Old Virgin delivers enough belly laughs.

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