Variety's Scores

For 9,860 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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: 60
Highest review score: 100 La Camioneta: The Journey of One American School Bus
Lowest review score: 0 Freddy Got Fingered
Score distribution:
9860 movie reviews
  1. Norgaard wants to keep viewers guessing the whys and wherefores, but putting two and two together is so easy here that only the narratively challenged will be surprised by the culprit’s motivations.
  2. The performances are fun, if musically only adequate -- there are no evident virtuosi languishing within Angola's walls -- and Chiarelli's attempts to frame matters philosophically fall a little flat.
  3. Pic's future as a cult item is a sure bet.
  4. As rich in period and historical background as it is deficient in fresh dramatic and thematic ideas.
  5. Wildly uneven effort, which is notably more strained and slapdash than such earlier efforts as "Madea's Family Reunion" and "Tyler Perry's Meet the Browns."
  6. Kelly's trademark mix of sci-fi, surrealism and suburbia occasionally entertains.
  7. Loaded with history, interviews, hole-cam drama and some rather grand digressions, Douglas Tirola's picture seems a bit late for the poker craze, and at any rate will be preaching largely to the converted.
  8. Physicality of the second half, then, will keep the audience going, but it is not quite sufficient to camouflage the elemental silliness of storyline.
  9. Sarah Silverman: Jesus Is Magic showcases the comic-actress in her familiar on-stage persona as a blithely self-involved Jewish American Princess whose penchant for perky vulgarity can be explosively funny or unnervingly shocking.
  10. Crazy new gadgets, vigorous action sequences and a thorough production-design makeover aren't enough to keep Total Recall from feeling like a near-total redundancy.
  11. A lightly feminist, good-naturedly comic sketch of a Chinese-American family in crisis. But despite pic's earnestness and obvious good intentions, narrative elements, carefully set forth though they may be, fall back on overfamiliar, underdeveloped tropes.
  12. An unexpected departure off the map, flinging together elements of Alpine musical, ghoulish Jan Svankmajer-style claymation and a family portrait so hokey it makes the Brady Bunch look hip.
  13. Apparently needing to release some private thoughts, musings and images to the world, Anthony Hopkins takes a leap into stunning self-indulgence with his directorial debut, Slipstream.
  14. W.
    For a film that could have been either a scorching satire or an outright tragedy, W. is, if anything, overly conventional, especially stylistically.
  15. A less raucous and more serious-minded neighborhood comedy than its entertaining predecessor.
  16. The comedy feels forced as Fey works overtime to insert unnecessary zingers at the tail of every scene. If the cast weren’t so endearing, her actions could easily sour an audience on the whole experience, and Admission digs itself a hole only an ensemble this appealing can escape.
  17. The documentary has but one revelatory insight -- that "The Lion King" can be read as an allegory of the territorial peeing match between big cats Michael Eisner, Roy Disney and, least flatteringly, Katzenberg.
  18. While the effort is admirable, the result is a bit unwieldy, casting too wide a net to really plumb its subject’s depths, and defanging some of Steadman’s acid wit with an overly busy, hit-and-miss aesthetic approach.
  19. Covering a lot of ground in colorful, pacey fashion, the documentary is nonetheless somewhat compromised itself by co-director Ami Horowitz's insistence on playing the Michael Moore/Morgan Spurlock role of onscreen provocateur.
    • 62 Metascore
    • 50 Critic Score
    This $40 million look at Jim Morrison's short, wild ride through a rock idol life is everything one expects from the filmmaker - intense, overblown, riveting, humorless, evocative, self-important and impossible to ignore.
  20. Bubbles along with a jaunty but unoriginal blend of the sweet, tart, cute and weepy.
  21. With its godly themes confined to an otherwise entirely superfluous framing device, this kiddie action-adventure works up just enough lukewarm swashbuckling energy to pass muster with bored young children and the Sunday school teachers entrusted with their care.
    • 77 Metascore
    • 50 Critic Score
    The Shakespearean side of the story falls short due to Reeves' very narrow range as an actor.
  22. Handsome but hollow, Snow White & the Huntsman is easily among the stranger additions to a roster of rebooted fairy tales.
  23. The picture is stronger the closer it sticks to the streets and raw emotions and the more it avoids routine dramatic crutches and forced comedy.
  24. This comically intended battle of the species is family entertainment for families that will buy anything.
  25. More palatable than "Texas," Dawn also seems even less necessary, given how effectively the original was reworked last year in Danny Boyle's "28 Days Later."
  26. Although shot and performed in a determinedly raw, naturalistic register, this emotionally roiling portrait of two twentysomething Texas sweethearts too often veers toward melodramatic overstatement, inspiring little empathy or understanding despite the committed performances of promising young leads Taissa Farmiga and Ben Rosenfield.
  27. A meandering, semi-improvised tale of a terminal Gotham loser who works as Santa when he bombs as an actor.
  28. The screenplay, however, denies the film a solid foundation. Jumanji is diverting in a splashy , eye-catching manner, but is about as substantive and durable as filigree.

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