Variety's Scores

For 8,840 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Assassin
Lowest review score: 0 Bio-Dome
Score distribution:
8,840 movie reviews
    • 61 Metascore
    • 70 Critic Score
    The Man with Two Brains is a fitfully amusing return by Steve Martin to the broad brand of lunacy that made his first feature, "The Jerk" [1979], so successful.
  1. We get very little sense of her personal life... Nor do we get much insight into the evolution of her art, which looks fascinating in the glimpses afforded, but is viewed primarily in terms of community art therapy, rather than appreciated as an aesthetic end value in itself. Though these omissions frustrate a bit in retrospect, The Barefoot Artist is nonetheless an engrossing watch.
  2. Classy, decorous and well acted, directorial debut by Hollywood producer Pieter Jan BruggePieter Jan Brugge is nicely crafted but too buttoned up to generate more than polite interest, much less the urgent excitement a kidnapping story might be expected to trigger.
  3. Has striking moments comparable to the best of Neshat's potent imagery. But the script jettisons most of the book's more powerful sections.
  4. Those not particularly interested in the bands or era portrayed may find Salad Days a bit too much of a good thing. But they’re unlikely to be viewers anyway, and fans will find the documentary’s fast-paced but detail-oriented progress satisfying.
  5. Casual, engaging documentary doesn't attempt a Hinduism 101 lesson, instead going for an impressionistic mix of on-the-fly spectacle and human interest.
  6. Ultimately, the training and suicide mission are less interesting to Ayouch than the initial forming of character, and the fundamentalist cell members are only stock figures; what’s important is the group’s sense of disenfranchisement and the lure of inner peace.
  7. (Stone's) most accessible and purely enjoyable film in years.
  8. Soberly and intelligently examines the fear, frustration, anxiety, animosity and boredom of waiting to advance into the terrifying other world that lies over the lip of the trenches.
  9. While it creaks along at times, director Csaba Kael's new film version of a Hungarian opera masterpiece, Ferenc Erkel's Bank Ban, is ultimately an invaluable entry in the opera-on-film library.
  10. A straightforward account of the show’s journey from conception to rehearsal to Great White Way triumph, it effectively doubles as a traditional let’s-put-on-a-show musical in its own right, albeit one with heavier guitars.
  11. Takes a beautifully lensed look at the work of Scottish "landscape sculptor" Andy Goldsworthy, whose unique creations -- composed of icicles, leaves, sticks, rocks, etc. -- are often as not simply swept away by the next tide or wind gust.
  12. Deliberately anachronistic in its heightened style of romance, villainy and destiny, the epic lays an Aussie accent on colorful motifs drawn from Hollywood Westerns, war films, love stories and socially conscious dramas. Some of it plays, some doesn't, and it is long.
  13. Even when he’s dealing with this boilerplate material, Collet-Serra brings an understated intensity and a subtle emotional pull to every scene, aided immeasurably by actors who invest their roles, big and small, with just the right degree of conviction.
  14. But it doesn't quite all come together here as it did onstage, and relentless scabrousness, heavy claustrophobia and a vaguely dated feel are among the elements that will keep mainstream audiences away.
  15. The tense drama eventually becomes off-putting when it becomes clear almost every scene hinges on an unpleasant or ugly racial interaction.
  16. A sly, insidious and intermittently hilarious domestic thriller.
  17. The candlelight flickers exquisitely even as the passions are slow to ignite in this spare, shrewdly acted but not especially vital retelling of Jane Eyre.
  18. Not surprisingly based on a comic book series by Brett Lewis and R.A. Jones (whom pic fails to credit), pic hurtles along at a pace designed by vet music vid and ad helmer Paul Hunter to engage short attention spans.
  19. This engaging if somewhat underwhelming tale of unlikely redemption builds a funny-sad web of intersecting interactions around its strong central perfs.
  20. As it explores the limits of human endurance, the pic should suck even landlubbers into a whirlpool of gripping adventure, overblown ambitions and sheer human folly.
  21. With a circus parade of mourning Brits and enough appalling circumstances to set proper Englishness back to the Dark Ages, Death at a Funeral pits decorum against sex, drugs and dysfunction.
  22. Though the story is told and edited in a way that too often obscures rather than enhances its central tragedy, much is compensated by a career-defining, powerfully physical lead perf by Matthias Schoenaerts and ace lensing by local widescreen wiz Nicolas Karakatsanis.
  23. An emotionally powerful but extremely old-fashioned coming-of-age saga.
  24. Impressively made and serious-minded to a fault, this physically imposing picture brings abundant political-historical dimensions to its epic canvas, yet often seems devoted to stifling whatever pleasure audiences may have derived from the popular legend.
  25. Deeply intriguing but almost too-faithful adaptation of Philip K. Dick's nightmarish 1977 novel.
  26. The overlong but involving drama has obvious cross-generational appeal.
  27. The Last Exorcism makes first-rate use of religious doubt and religious extremism to concoct a novel horror-thriller clever enough to seduce unbelievers while satisfying the bloodlust of its congregation/fanbase.
  28. Structurally, the film is somewhat rambling and unfocused even within its tight 40-minute running time, cutting away periodically to address the ways in which overfishing and rising water levels have severely impacted the reef and its ability to support plant and animal life. The lessons are valuable and necessary, but they’re not particularly well integrated.
  29. Upbeat Urbanworld documentary prizewinner, full of strong personalities and crisply edited court action.

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