Variety's Scores

For 9,296 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 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Dallas Buyers Club
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
9296 movie reviews
  1. 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."
  2. 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.
  3. 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.
  4. It's an easy watch that nonetheless consistently feels like a grazing blow rather than a knockout.
    • 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.
  5. 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.
  6. 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.
  7. 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.
  8. Predictable but pleasant comedic fantasy.
  9. "Night" trades politics for acrobatics, the film's kinetically edited action sequences filling the void left by sketchy character development.
  10. 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.
  11. 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.
  12. A plea for attention to despicable conditions of female servitude in contempo Iran.
  13. Largely undone by a script that self-destructs in the third act of an otherwise well-made thriller.
  14. There's no denying that viewers not prepared for the relentless stream of nasty personalities, profane invective and bone-crunching violence are in for a very long sit.
  15. Hanging out with a 1970s cult figure of raunchy R&B "party records" is less fun than one would expect in The Weird World of Blowfly.
  16. Memories of dreary Sunday school classes come flooding back courtesy of The Nativity Story.
    • 40 Metascore
    • 50 Critic Score
    If, by chance, Porky's should prove to be Melvin Simon's swan song in the film industry, it will either be perceived as a thunderously rude exit or a titanic raspberry uttered to audiences everywhere.
  17. A feast of A-grade f/x married to a Z-grade, irony-free script.
  18. Offers a lively introduction to the highly articulate political dissident and to his controversial views on 9/11.
  19. Sequel is louder and more elaborate (and even slightly longer) than predecessor, but the law of diminishing returns has caught up with this franchise.
  20. While the stabs at grown-up insight miss their targets, picture still packs more pure comedic punch than the Farrellys' last few offerings.
  21. An in-your-face double helping of fat jokes, crude slapstick, wacky Southern-black stereotypes and occasionally inspired improv.
  22. Knucklehead has a professional slickness about it, flawless shooting by d.p. Kenneth Zunder, and Johnston's perfectly cloying score. The acting leaves a bit to be desired: Malick is hilarious; Wight is endearing; Rebecca Creskoff ("Hung"), who plays Mary's friend and fellow ex-"dancer," is refreshingly natural.
  23. Good Deeds is relentlessly unsurprising in its plotting and borderline comical in its melodramatic flourishes.
  24. An overlong stygian comedy that badly needs a transfusion of genuine inspiration.
  25. A great title in search of a movie to live up to it, this startlingly uneventful compendium of thick-headed boy-talk and female tolerance squanders a fine cast on incredibly ordinary characters and situations.
  26. Never quite dull, neither does it ever find a viable rhythm, narrative arc or crux of emotional engagement.
  27. Despite a few raw moments, pic feels like a Lifetime movie with a marquee cast.
  28. Director David Frankel's picture delivers sweet and (more rarely) amusing moments, but this odd duck never completely gets off the ground.

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