Variety's Scores

For 10,295 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Let Me In
Lowest review score: 0 Divorce: The Musical
Score distribution:
10295 movie reviews
  1. The prosaic script feels far too derivative, and only the impressive rain-lashed finale succeeds in delivering that tingly thrill one expects from historical action epics.
  2. A lightweight, modestly engaging yarn sporting reductive mystical and philosophical elements that are both valid and borderline silly.
  3. The three thesps are impressive, with Chastain and Farrell delivering fevered performances that might have been knockouts on the boards, but in this respectfully flat approach feel a bit overscaled — you can see their virtuoso technique at work.
  4. Though sufficiently well made to suggest a viable career behind the camera for debutante writer-director Angelina Jolie, In the Land of Blood and Honey seems to spring less from artistic conviction than from an over-earnest humanitarian impulse.
  5. Oddly overstuffed with cameos by bigscreen actors playing tongue-in-cheek versions of themselves, Webber's Los Angeles-set, microbudget dramedy delivers some rare and beautiful moments of daddy day-care, but its tone shifts more wildly than a preschooler's disposition and its narrative is stillborn.
  6. A lively, plush but unconvincing potboiler cobbled from familiar pieces of better films (and TV miniseries).
  7. Despite enough good intentions to pave a four-lane highway, the ardently sincere but dramatically unfocused For Greater Glory plays like a multipart miniseries that has been hacked down to feature length.
  8. There’s something curiously underwhelming about the blood-soaked mayhem on display in Hatchet III.
  9. This handsome, not unappealing look at a Scottish legend of nearly 300 years ago is too solemn, wooden and dour for its own good, and feels oddly of another era.
  10. Overall, film may feel too slow and didactic for contempo urban kids conditioned by video games. However, the script is never smarmy or complacent, and shows young people engaged in collective problem-solving and decision-making that is often, quite literally, a matter of life and death.
  11. An affable but undernourished romantic comedy that fails to match the freshness of the actress-producer and writer's previous collaboration, "Miss Congeniality."
  12. A potential menage a trois of terror is served up as rather weak tea in Retreat, which fails to make its alleged suspense, thrills or even its mist-enshrouded landscapes particularly plausible.
  13. Unwieldy and exasperating, but not without a certain pushy, ingratiating charm.
  14. The film may be too mainstream for arthouses, and too arty for the mall.
  15. The picture works best as a vehicle for the likable talents of thesp Aasif Mandvi, arguably best known for his occasional "reporting" on the Middle East on "The Daily Show With Jon Stewart."
  16. It’s not necessary, of course, for The Phenom to be an all-out sports drama, but writer-director Noah Buschel sets up the rare opportunity to explore what makes a jock tick, then doesn’t follow through.
  17. Ultimately, pic feels very much like a romanticized, outsider's view of the South that willfully seeks out the culture's strangest, most weirdo aspects for other outsiders' gleeful delectation.
  18. Most of the jokes are real groaners, though the humor is welcome, while shooting select exteriors with tilt-shift lenses (for a miniature-faking effect that makes real-world buildings look like tiny Lego sets) adds another creative touch to the overall package.
  19. It's an easy watch that nonetheless consistently feels like a grazing blow rather than a knockout.
  20. With her confident second feature, director Sophia Takal (“Green”) takes on Tinseltown misogyny and the toxic rivalry between friends, but that’s mere prelude to a gonzo meta-fiction that deconstructs itself nearly to death.
    • 66 Metascore
    • 50 Critic Score
    Uneven but quite pleasant as a two-hour experience that acknowledges the idealized Paris people carry in their heads while wisely veering off the beaten track.
  21. A strange international odyssey that becomes more complicated and loony by the moment. Some viewers will undoubtedly tune out early, others will follow as far as they can -- and a privileged few might make it all the way.
  22. Despite Amy Adams’ affecting performance as an artist and ’50s/’60s housewife complicit in her own captivity, this relatively straightforward dramatic outing for Tim Burton is too broadly conceived to penetrate the mystery at the heart of the Keanes’ unhappy marriage — the depiction of which is dominated by an outlandish, ogre-like turn from Christoph Waltz that increasingly seems to hold the movie hostage.
  23. There's no shortage of existing docus on the subject, and Panh's doesn't bring either a fresh enough angle or enough new material to the table to justify its length.
  24. Predictable but pleasant comedic fantasy.
  25. "Night" trades politics for acrobatics, the film's kinetically edited action sequences filling the void left by sketchy character development.
  26. Fendrik seems more interested in the rich jungle surroundings than in the generic human struggle in the foreground, alternating between clunky setpieces (such as the sitting-duck rowboat shootout) and long stretches where the characters say nothing.
  27. Ram-Leela, a gorgeous, boisterous, ultimately ineffective new Bollywood adaptation of “Romeo and Juliet,” does accomplish one thing that is quite unusual: it manages to keep you in suspense about the outcome almost to the last frame.
  28. A plea for attention to despicable conditions of female servitude in contempo Iran.
  29. Largely undone by a script that self-destructs in the third act of an otherwise well-made thriller.

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