Variety's Scores

For 9,166 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Sicario
Lowest review score: 0 Some Kind Of Beautiful
Score distribution:
9,166 movie reviews
  1. Correctly ascertaining that auds will be less interested in the outcome than in the obstacles along the way, Levasseur plants and executes the pic’s exclamation-point scares with grinning, squelching gusto.
  2. Given the abysmal quality of recent spoof pics, it's saying something that Superhero Movie provides a fairly steady stream of midsized laughs -- and even the 40% or so of gags that just lie there aren't actively painful.
  3. Even devotees of the Replacements' defiant perversity will be unsatisfied with this talky tribute to a noisy band.
  4. Comes off as a derivative wisecracking machine rather than a feat of sustained imagination.
  5. No aspect asserts itself strongly enough for the whole to satisfy, and at times the pic’s humorless approach to cliches unintentionally borders on “MacGruber” territory.
    • 52 Metascore
    • 50 Critic Score
    Hook feels as much like a massive amusement park ride as it does a film. Spirited, rambunctious, often messy and undisciplined.
  6. It’s no stretch for Kingsley to project stiff dignity and forthrightness, but that familiarity works against him here, despite his every effort to give the character a human pulse. Clarkson, expert at bringing authenticity to the most inauthentic material, gets to show far more range.
  7. An intellectual-cum-sexual teaser whose twist is apparent far too early on.
  8. The screenplay by Daniel Tendler, Fernando Bonassi and Lula biographer Parana succumbs to many of the most unfortunate narrative tendencies of biopics, including a proclivity for piling on incident after incident as a substitute for real character insight.
  9. Film struggles to balance its past-present memory drama and a rather standard take on an American immigrant family. Although accented by fine cinematic flourishes, pic is harmed by an abrupt conclusion and technical glitches.
  10. A tawdry look at the early days of Nevada's legalized brothel business that plays more like Lifetime fodder than the Martin Scorsese pictures that serve as its model.
  11. It puts Emily Blunt in a wedding dress, which will appease the hopeless romantics in the house, even while making the institution of marriage seem ridiculously obsolete.
  12. A half-broken adaptation of Cormac McCarthy's great modern Western novel. Neither dull nor exciting.
  13. You can virtually see the mystique peeling away while beholding the turgid melodrama, patchy plotting, windy dialogue and, yes, spectacular combat effects of this grand finale.
  14. The pluses outweigh the minuses: Pic is thought-provoking, visuals are spot-on, and the heavy-duty cast pulls the film round even in its wobblier moments.
  15. Balancing black humor against allegorical indictment of the Pinochet regime's oppression on narrow stack heels, striking, very offbeat period pic Tony Manero follows a psychotic petty criminal into the depths of his crazed obsession with John Travolta's character in "Saturday Night Fever."
  16. Alternates between intimate wildlife saga and majestic views of the North Pole, offering strong visual compensations for its meandering structure, syrupy tone and excessive sampling of Paul McCartney's back catalog.
  17. An intriguing spin on the British crime genre that's more a series of strong performances than a fully worked-out character drama.
  18. Luke Meyer and Andrew Neel's New World Order is less about an international cabal seeking world enslavement than about those who fervently believe such conspiracies exist and who crusade to defeat them.
  19. Devoid of genuine inspiration or involving character development.
  20. For some time, the pic holds interest while constantly frustrating curiosity with the way it parses out information, but soon after the midway point the game becomes tedious, and attention slackens considerably even as Gong-ju’s ordeal becomes clear.
  21. A former rock 'n' roller withers on the vine in California Solo, Marshall Lewy's forgettable sophomore effort (after a promising beginning with "Blue State").
  22. Like its sister films in the surfing-movie genre, the extreme-skiing movie Steep is less a documentary than a sales pitch -- not for a product or a place, but for a sport, one its practitioners feel requires pugnacious self-promotion.
  23. Fitfully amusing and nearly saved by its distinguished cast.
  24. The filmmakers’ undeniable chops and bizarre tonal shifts fail to transform the material into anything more than a stylishly gruesome exercise.
  25. Towelhead is transgressive without being effectively subversive, gutsy to no particular end. It simply lacks style, which counts for so much in this sort of thing.
  26. The expected satire of religious gullibility and charlatanism proves toothless; worse, a cast of very funny people is given very little funny to do.
  27. Slicker, funnier and more professional than its predecessor, State Property 2, with Damon Dash at its helm tones down the original.
  28. 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.
  29. 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.

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