Variety's Scores

For 8,876 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 Django Unchained
Lowest review score: 0 Freddy Got Fingered
Score distribution:
8,876 movie reviews
  1. Slicker, funnier and more professional than its predecessor, State Property 2, with Damon Dash at its helm tones down the original.
  2. Da Sweet Blood of Jesus is at once too much and yet somehow not enough. On the one hand, it’s exciting to see the always envelope-pushing Lee working without a studio- or distributor-imposed safety net... But while the film never lacks for ambition, it fails to satisfy emotionally or intellectually in the ways Lee intends.
  3. At the Devil’s Door (which premiered at SXSW last spring under the title “Home”) ends up too tentative and underdeveloped, playing like an attenuated prologue for a bigger film.
  4. A capably assembled if ultimately unremarkable thriller.
  5. Graced with well-chosen location eye candy, Tom Tykwer's biggest production to date is proficient but lacks the added tension and characterization to put it anywhere near the top tier of contempo action suspensers.
  6. Rich in its love of surfing but curiously short on such footage, well-meaning directorial debut by producer Robert Mickelson is boosted by winning performances, but ultimately about as memorable as a day of 3-4 foot swells.
  7. Mildly amusing but overly discursive.
  8. Despite nice touches, pic meanders in the middle and ends flatly.
  9. Entertaining but never fully engrossing.
  10. While the filmed stage performances are among the pic’s most galvanizing sequences, their inclusion underscores how flat Gibney’s combination of archival footage and talking-head interviews otherwise plays.
  11. Director Ron Maxwell’s adaptation of Harold Frederic’s 1893 novel elicits a certain amount of admiration for its old-fashioned carpentry and earnest, worthy approach, but its stilted dramaturgy and endless speechifying defeat the committed efforts of a sprawling ensemble.
  12. A simple repast consisting of sometimes strained slapsticky comedy, a sweet romance and a life lesson learned, this little picnic doesn't amount to much but goes down easily enough.
  13. Frequently cutting away from storylines just before they peak and returning to them too much later, odd editing/structural choices never let the picture build up a satisfying head of steam. Overall look is just slightly better than homevideo.
  14. The film is shocking and upsetting, but never truly gets under the skin the way this kind of material often can. Whatever reservations are prompted by Haneke's approach, his direction is controlled and edgy. [20 May 1997, p.52]
    • Variety
  15. An uneven but exuberantly anarchic comedy homage to the spaghetti Western.
  16. Has more flash than finesse.
  17. An overinflated mishmash that compels the audience to sift through a lot of rubble for the few requisite thrills, this second "Die Hard" sequel leaves a lot of creative wreckage in its wake.
  18. In the story's one major stroke of invention, the usual premonitions of death have been replaced with a set of photos.
  19. A film that should but doesn't get under your skin and give you the creeps.
  20. A scrappy portrait of half a dozen renegade gold-diggers.
  21. While the scares are in short supply, there’s a surfeit of macabre, tongue-in-cheek creativity to be found here.
  22. This slick effort is effectively creepsome until it bogs down somewhat in plot explication.
  23. This middling melange of Child biopic and contempo dramedy feels overstuffed and predigested as it depicts two ladies who found fame and fulfillment in their respective eras by cooking and writing about it.
  24. Unmistakably sympathetic but mostly even-handed documentary.
  25. On a dramatic level, Dutch-born helmer Jan Kounen's hyper-stylized, emotionally vacuous film is like a pair of designer pants that look great but don't fit, or a rare vinyl recording that keeps skipping at the best parts.
  26. RV
    RV works up an ingratiating sweetness that partially compensates for its blunt predictability and meager laughs.
  27. Shifting between individual suffering (performed, not felt) and extended political and business deliberations, the picture displays its budget but not its heart.
  28. Writer-director John Hamburg does everything he can to pair up Ben Stiller's stiff, safety-first corporate man with Jennifer Aniston's free spirit in Along Came Polly, but the two are so fundamentally incompatible that story loses credibility long before the gags stop coming.
  29. Beautifully made production lacks the emotional depth and dramatic tension needed to command audience attention beyond the level of a talented curiosity.
  30. Respecting Mother Earth should never be as dull as watching Sacred Planet, a repetitive, globe-hopping Imax project that dresses up well-known ecological truisms with pretty nature photography.

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