Variety's Scores

For 10,952 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 Spider-Man 2
Lowest review score: 0 Cabin Boy
Score distribution:
10952 movie reviews
  1. A stately, intermittently gripping, ultimately overlong drama.
  2. Main body of the movie is weighed down by flat, expository dialogue and a lot of pedestrian filming. However, Zeffirelli's shooting of the "Carmen" sequences, which make up a sizable chunk of the film and are far and away the pic's most exhilarating sections, are graceful and fluid.
  3. The actors are all game and well paired, but flashes of chemistry and an appreciable level of production finesse (courtesy of d.p. Simon Chapman and composer Michael Yezerski) aren’t enough to bring the requisite charge to this flimsy, pseudo-provocative material.
  4. Little Red Riding Hood gets a cheeky CGI makeover in Hoodwinked!, a fast-paced, fitfully clever 3-D-animated feature that will entertain tykes.
  5. Likeable if unexciting little tale.
  6. What began as a self-contained allegory on open class warfare becomes a showcase for stylistic anarchy, wherein the ensuing orgy of sex and violence serves to justify a near-total breakdown of cinematic form.
  7. Staccato, Mamet-style dialogue exchanges, breathless pacing and remarkably healthy, well-fed-looking actors create a cumulative sense of artificiality that seriously undercuts the devastating effect clearly being sought.
  8. Pushes its dark, smart, clever, cynical, satirical, nasty, provocative and sarcastic instincts to the point of heavily diminished returns -- to the point where the very amusing premise just isn't funny anymore.
  9. Considering that many will regard child boxing as inappropriate, at the very least, the documentary invites criticism by choosing not to include any voices of dissent or analysis of the sport within a broader social and cultural context.
  10. Though Hotel has brilliant moments, and an energetic first half, it falls away badly in the later stages.
  11. Formulaic gay comedy delivers its share of grins on the way to an (arguably) unexpected ending.
    • 78 Metascore
    • 50 Critic Score
    After a promising opening, Halloween becomes just another maniac-on-the-loose suspenser. However, despite the prosaic plot, director John Carpenter has timed the film's gore so that the 93-minute item is packed with enough thrills.
  12. A warm embrace of broadly but humanely sketched characters plus some scrappy casting of rising young stars led by an incandescent Kate Bosworth help overcome the half-realized comedic situations.
  13. Sweet if slight Israeli comedy.
  14. Creepy but uneven.
  15. Maps struggles to mix its various genres: Part showbiz sendup, part ghost story, part dysfunctional-family drama, the movie instead comes across as so much jaded mumbo-jumbo.
    • 58 Metascore
    • 50 Critic Score
    Tron is loaded with visual delights but falls way short of the mark in story and viewer involvement. Steven Lisberger has adequately marshalled a huge force of technicians to deliver the dazzle, but even kids (and specifically computer game freaks) will have a difficult time getting hooked on the situations.
    • Variety
  16. The result may still be a big, bloated spectacle, but it's a big, bloated spectacle you can just about follow.
  17. Shady mood-piece profits greatly from enigmatic performance by Emmanuel Xeureb.
  18. This supposed comedy of manners about Americans in Paris feels artificial at every turn, its characters so devoid of backstory and nuance their behavior often makes little sense.
    • 68 Metascore
    • 50 Critic Score
    The material is more interesting than the film's rather dry mode of presentation, which is somewhat hampered by a dearth of archival footage.
  19. By the end of Collateral Beauty, you’d have to have a heart of stone for the film not to get to you a bit, but even if it does, you may still feel like you’ve been played.
  20. Directed by the pseudonymous Deagol Brothers, the film invests in spacey horror tropes one moment, plunges into absurdist adolescent angst the next and begs questions every step of the way, but just about holds together with its strong compositional sense, killer atmospheric lighting and wall-to-wall music track.
  21. The voice ensemble is game, if not especially well matched.
  22. Handsome, respectable and well cast, elaborate production lacks the excitement and magic that would elevate the film to beloved status, and sheer abundance of CGI work weighs on it too heavily.
  23. Zac Efron's squeaky-clean tweener-bait profile is unlikely to be threatened by 17 Again, an energetic but earthbound comic fantasy that borrows a few moves, if little inspiration, from "Big" and "It's a Wonderful Life."
  24. Neither Pena nor the pic itself delivers the necessary dynamism, strained by a modest budget and too few extras to sufficiently re-create a movement that found strength in numbers.
  25. Cage supplies beaucoup energy, but his highly compromised hustler cop character provides little else in which he can invest his talent. Sinise wears an increasingly grim demeanor in a part that comes to make no sense, and John Heard's role as a local power broker gets lost in the shuffle.
  26. Darts back and forth from being a psychological thriller to a vaguely metaphysical drama to a fate-driven romance -- it all becomes a blur.
  27. Skillfully made first feature by writer-director Katrin Gebbe has some undeniably striking passages and performances, but ultimately spirals toward a gruesome third act that is no less monotonous for supposedly being based on true events.

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