Variety's Scores

For 10,513 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Patton
Lowest review score: 0 Rollerball
Score distribution:
10513 movie reviews
  1. With Michael Cera in the title role, twentysomethings and under will swiftly embrace this original romancer.
  2. Going in Style coasts along on the testy spiky charms of its leading men, who have 246 years of life on earth between them (Caine is 84, Freeman 79, and Arkin 83), but it’s nothing more than an amiable connect-the-dots movie.
  3. The track record of SNL-drawn movies is dire ("It's Pat," "Stuart Saves His Family," "Blues Brothers 2000"), and this one stands just a peg higher, as an amiable, if flyweight, di-version.
  4. Thanks to some accomplished hocus pocus and an appealing cast, this would-be “Ocean’s Eleven” of the magic world remains watchable throughout, even as it plods along without ever quite fulfilling its potential.
  5. Begins extremely well as a saga of greed and conspicuous consumption, but gradually loses its bite.
  6. A heaping serving of metaphysical gobbledygook wrapped in a physically striking package.
  7. Result is far more accessible than Jia's previous two pictures, with moments of genuine emotion by the real-life interviewees.
  8. McCormick's Stepfather boasts a decent script by J.S. Cardone, but it seems to have been made in a bubble, as if nothing had transpired in the world of slasher/horror since the late Donald Westlake ("The Grifters") wrote the much-respected original.
    • 66 Metascore
    • 60 Critic Score
    Makes its points effectively, but could have benefited from a burst of creativity.
  9. Though Felicioli and Gagnol’s visuals suggest colorful kidlit illustrations come to life, their labor-intensive style isn’t for everyone.
  10. Where the film goes is both unexpected and necessary, since however grounded and relatable these thinly detailed characters might be, the movie doesn’t actually seem to be going anywhere.
  11. Voyage of Time has too many spellbinding images to count, but as a movie it’s just okay.
  12. The film would be a routine affair if not for its baroque aesthetic gestures and a captivating turn from star Abbie Cornish.
  13. Lutsik takes aim at reckless capitalism --- as well as the increasing Westernization of Russian filmmaking --- with a disquieting allegory that in both themes and aesthetic is an audacious throwback to pre-WWII Soviet cinema formalism.
  14. Comprehensive but sketchy, richly atmospheric but often under-dramatized, it is not, in the end, a very good movie.... Yet it’s highly worth seeing, because in its volatility and hunger, and the desperation of its violence, it captures something about the space in which Tupac Shakur lived.
  15. Ambling drama shows an exasperating lack of economy and a weakness for diatribe dialogue, but becomes progressively more involving after a laborious start.
  16. It’s Roy, having written herself a part for which many actresses would patiently wait, who does the heavy lifting here: Playing a woman who’s either losing her mind or playing dangerously at it, with as much attention paid to body language as befits her character’s artistic calling, she makes a revelatory, slightly otherworldly impression.
  17. Tightly wound and crafted, with robust performances by Kristin Scott Thomas and recurrent Spanish Don Juan Sergi Lopez, the picture offers a rough, no-frills take on a story as old as France itself.
  18. The film may be too inside-baseball, with strained sympathy and contrived emotions.
  19. A minor affair, a confection based on dalliances and the way a set of sophisticated theater people handle them, that lacks true distinction.
  20. Well cast, engagingly played and directed with a stylistic pedal to the metal, Human Traffic is a lot of energy adding up to very little.
  21. "It's the ultimate Dogme movie, before the birth of Dogme," is how 79-year-old Lithuanian-born independent mainstay Jonas Mekas describes peaceful, enthralling assemblage encompassing home movie footage from last three decades of his life.
  22. Pic reps a sequel of sorts to his 12-part "Megacities" about poor folk in separate burgs, and comes soaked in good old-fashioned humanist respect for the dignity of labor, but eventually grows a little monotonous.
  23. xXx
    A brawny commercial attraction strategically tapping into the auds for extreme sports, spy pix, thrill rides, popcorn actioners and anyone looking to see Diesel kick butt, blow stuff up and/or take his shirt off.
  24. As an eco-political inquiry, the film is compelling even if its grounding in scientific fact could be more solid.
  25. There is a trumped-up quality to the action climaxes that is disappointingly perfunctory, and the story's final revelation is simultaneously far-fetched and unsurprising.
  26. The picture delivers enough of the expected goods, if seldom with the wit or panache of the series' best.
  27. Hou fans will find what they're looking for; others will wonder when the action starts.
  28. Rocky but respectable Land of Plenty proves the helmer often does better with low budgets, fast schedules and young collaborators. Slushy final 10 minutes nearly trashes with triteness the good work that precedes it.
  29. Intelligent scripting, solid thesping and eye-catching location shooting aren't enough to make a compelling modern film of The Painted Veil.

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