Variety's Scores

For 10,759 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Blue Is the Warmest Color
Lowest review score: 0 NOLA Circus
Score distribution:
10759 movie reviews
  1. Consistently silly and intermittently laugh-out-loud funny spoof.
  2. The way Kuenne presents the material, with an aggressive style that lingers less than a second on most shots, it's impossible not to feel emotionally exhausted.
  3. An overwrought, underwritten hootchy-kootchy tuner that desperately wants to be "Cabaret," but lacks the edge and historical context to pull it off.
    • 55 Metascore
    • 50 Critic Score
    Although state-of-the-art in its rendering of textures, movement and stereography, The Croods, adopts a relatively primitive approach to storytelling with its Flintstonian construction of stock, ill-fitting narrative elements.
  4. An often intriguing, sometimes hypnotic work, but one that quickly starts to unravel in the final hour as it becomes clear there’s not much beneath the emperor’s clothes.
  5. Viewers who thought the protags were superficial and annoying first time around will find little to change their minds here, but original pictures fans will probably embrace the now-scattered group's marginally more mature dilemmas centered on work and romance.
  6. Joy
    Despite another solid performance from Jennifer Lawrence, anchoring Russell’s sincerely felt tribute to the power of a woman’s resolve in a man’s world, it’s hard not to wish Joy were better — that its various winsome parts added up to more than a flyweight product that still feels stuck in the development stage.
  7. Desperately uncertain in tone and able to generate only sporadic laughs, pic decks out its meager story of revenge and comeuppance with a vulgar, flashy shimmer that will no doubt attract teenage girls, or the core "Clueless" audience.
  8. The film’s thudding shocks and predictability dull its edge.
  9. Those hoping for either a sizzling -- or an unintentionally hilarious -- good time will be disappointed by this inexplicably dull sequel.
  10. Ultimately, this is perhaps useful, since "never forget" only applies if you know something in the first place, and in that regard The Lion of Judah serves as a cautionary tale.
  11. Set during the brief, brutal 2008 flare-up between Russia and Georgia, the drama has some exhilarating moments, but they're dampened by concessions to conventionally bloviating music, overly theatrical dialogue and inadvertently comic slo-mo.
  12. Although this "Sopranos" writing vet delivers several flashes of that show's dark humor and irony, the pic leaves a hollow feeling at the end.
  13. This handsomely mounted picture is, at nearly 2 1/2 hours, far too long and indigestible for a film whose protagonist spends most of her screen time under house arrest.
  14. A bland road movie running on empty. It's depressing to see a deluxe cast wasted on such by-the-numbers material -- from predictable plot to fabricated Hallmark sentiment to strenuous milking of warm-and-fuzzy laughs from the irrepressible spirit of three women whose youth is behind them.
  15. Isn't racy enough to warrant the word of mouth necessary to make pic a sensation with its generation, the way the unrelated disaffected-twentysomething hit "Garden State" was.
  16. Latest pic directed by Gil M. Portes, could be called "To Madam With Love"; vet Filipino helmer is out to open maximum tear ducts with sentimental tale.
  17. What's generally missing here though is a sense of the creative process; rather than sweat-and-tears rehearsals breaking the dances into individual movements, the numbers are largely shown nearly complete. Consequently, there's little sense of the discipline involved, or the struggle for perfection that makes dance documentaries so engrossing.
  18. A moderately successful attempt to ape the standard Hollywood teen movie.
  19. A mix of found-footage thriller, mock-doc realism and public service announcement that rings true almost as often as it rings false.
    • 47 Metascore
    • 50 Critic Score
    Story [by John Hughes] of a frenetic, chaotic tour of the Old World, with Chevy Chase and Beverly D’Angelo reprising their roles as determined vacationers, is graceless and only intermittently lit up by lunacy and satire.
  20. Ultimately, Fox’s stab at reviving one of its inherited Marvel properties feels less like a blockbuster for this age of comics-oriented tentpoles than it does another also-ran — not an embarrassment, but an experiment that didn’t gel.
    • 46 Metascore
    • 50 Critic Score
    Comedy, pathos and thrills alternately collide, creating problems in both pacing and developing a consistent tone.
  21. The sophomore effort from Jake Paltrow (“The Good Night”) gets so bogged down in its primal tale of murder and revenge that the most intriguing elements become little more than futuristic window dressing.
  22. Underproduced and compromised by an uneven script and a tendency to descend into melodrama, the DV-lensed feature nonetheless is well acted and directed with confidence.
    • 56 Metascore
    • 50 Critic Score
    A decidedly old-fashioned family film that may prove too quaint for modern audiences.
  23. War
    Quickly devolves into a standard-issue crime drama laced with routine martial artistry.
  24. Havenhurst grows less scary the more urgently action-packed it becomes. It’s not that Erin’s direction lacks energy when needed, but rather that his and Daniel Ferrands’ script never develops any of its numerous familiar but viable plot themes enough to really give the film a distinguishing edge.
  25. It ultimately fails to deliver on the audacity of its premise. Neither truly original nor a guilty-pleasure genre spin, the picture lacks a hook for general audiences who may find the subject matter distasteful as presented.
  26. The relative restraint of keeping any supernatural creatures and most violence just offscreen works well to maintain suspense. It’s too bad Beck and Woods didn’t exercise equal caution in the dialogue department.

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