Variety's Scores

For 7,976 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 1.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Wild Reeds
Lowest review score: 0 Problem Child
Score distribution:
7,976 movie reviews
  1. An unremarkable documentary about Harper Lee and her single literary masterwork, Hey, Boo features what the French call a "structuring absence," that of Lee herself.
    • 54 Metascore
    • 40 Critic Score
    Well-intended and informative, but also unfocused, unwieldy and a little smug, picture pales in comparison to the really first-rate films on the subject ("When the Levees Broke," "Trouble the Water").
    • 37 Metascore
    • 40 Critic Score
    Picture comes off as an exaggerated slapstick romp rather than the breezy, affecting tale of an 8-year-old tomboy it might have been.
  2. This ongoing improvisation, along with the completed passes and resulting chest-bumping celebrations or recriminations, serves to define these otherwise "ordinary" ciphers and lend shape and momentum to an otherwise plotless movie.
  3. There's a great deal of on-the-nose talk here about faith, rationality, sin and so forth. But Chapman's sincerity is undercut by the crudely melodramatic explanations of why his principals believe as they do.
  4. Duly offbeat without ever being very compelling in content or aesthetic.
  5. Ironclad might be the perfect actioner for gorehound fanboys gaga for medieval trappings, but all others may find this British-American-German co-production a bit of a drag.
    • 49 Metascore
    • 40 Critic Score
    Pereda moves into territory where atmosphere and tone are more important than story or character.
  6. The manner in which the central scheme plays out is predictably moronic, vulgar and juvenile, though the parties involved just about make up for it.
  7. Slickly produced and blatantly manipulative, Bannon's hagiographic tribute is a celebratory cavalcade of career highlights and glowing testimonials that doubtless will please Palin's devoted followers, appall her fiercest critics -- and, perhaps, occasionally surprise the undecided.
  8. Mawkish, clunky and unenlightening about female suffering in this or any generation.
  9. This tale of a Long Island dental hygienist dealing with various family crises is likable enough, but never really distinctive in character delineation, tone, atmosphere or plotting.
  10. The result is Sam (Mark Duplass, "The Puffy Chair" and "Humpday"), a 34-year-old unemployed rocker whose mediocre musicianship is matched only by his abysmal people skills; he's like Jack Black without any energy or confidence.
    • 60 Metascore
    • 40 Critic Score
    A romantic-comedy-cum-serial-killer-movie that bends genre to the point of snapping.
  11. Thesping is more engaging than accomplished, as Anderson's constant smile cracks around the edges and Northover's dourness is a bit overdone.
  12. If "Freaky Friday" had an impudent, foul-mouthed little brother, it would be The Change-Up, an often needlessly crass, bromance-oriented spin on the body-swap comedy.
  13. Unfortunately, the unconvincing fictional storyline Rosenbaum weaves around this solid musical base hits every meller cliche in the "self-destructive rock star" playbook.
    • 70 Metascore
    • 40 Critic Score
    Loud, tedious and unattractive in every sense, this barrage of blood set during the Franco regime combines the helmer's customary cartoonishness with horror and ups it a thousand notches.
  14. Where helmer Adam Wingard's prior "Pop Skull" used a jittery style to convey its delusional, possibly meth-addled protagonist's mindset, here, too much handheld camera wobble and wavering image focus only alienate the viewer from this somewhat sluggish tale.
    • 24 Metascore
    • 40 Critic Score
    Suffers from severe problems of tone, a surfeit of undeveloped plot points and characters, and bland direction.
  15. Despite stretches of skillfully sustained suspense, Apollo 18 ultimately comes across as little more than a modestly clever stunt.
  16. Clunky allegorical elements, however, remain unsatisfyingly ambiguous throughout the picture.
  17. Finding a pulse only in the band's late-reel performance of "Alive," a lusty passage that would've begun a pic intent on making a case for the group's greatness, "Twenty" simply counts the years from 1991 via sludgy backstage and onstage footage whose rarity can't forgive its inclusion. Crowe's critic mentor, the late Lester Bangs, would cringe.
  18. While the result is yet another story of African suffering told from a white do-gooder's perspective, this particular do-gooder is intrinsically fascinating enough to warrant attention, albeit more nuanced attention than he receives here.
  19. This sloppily constructed horror-thriller lacks the satirical bite and action chops to skewer extreme-right-wing zealots with the gusto Smith clearly feels they deserve, instead evincing the verbal incontinence and slack tension that have long dogged the writer-director's work.
  20. Poorly conceived 60-minute picture might have fared better as a more straightforward documentary.
  21. Unable to establish a consistent tone, picture goes derivatively screwball one minute and stickily sentimental the next.
  22. Shovels enough dirt on the Tea Party guru and self-described hockey mom to satisfy her haters, but lacks sufficient humor and insight to make it a must-see for anyone outside the Brit muckraker's fan base.
  23. A draggy, generally laugh-free outing that wastes a perfectly good Anna Faris.
  24. Script by former DEA officer Don Ferrarone isn't that bad in itself, but matters aren't helped by the mumbled performances and poor sound, which make it hard to hear what anyone's saying, while sloppy editing wreaks havoc on the story.

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