Variety's Scores

For 9,088 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Vincere
Lowest review score: 0 Wash Dry and Spin Out
Score distribution:
9,088 movie reviews
  1. Its appreciation of Thomas’ work remains superficial, while the polished filmmaking never quite finds its own poetry.
  2. This makes the film feel perilously close to widescreen sitcom, as do montages of New York set to Beethoven's Sixth Symphony.
  3. Can be taken to task for its overt point-making, lackluster style and some late-on dramatic contrivances seemingly dragged in to provide a little violence.
  4. A few good laughs but few surprises in Next Friday, an amiably unfocused sequel.
  5. Not exactly an unholy mess, but still a rather too pious retread of classic sci-fi/action/horror riffs that lacks originality or pizzazz.
  6. Elaborately conceived from a visual standpoint, Ridley Scott's first sci-fier in the three decades since "Blade Runner" remains earthbound in narrative terms, forever hinting at the existence of a higher intelligence without evincing much of its own.
  7. Buday's astrology-themed romantic comedy boasts a promising premise, convincing chemistry between its attractive leads and fine thesping by a defensively edgy Jena Malone. But the uneven script, repetitive tropes and over-indulgence of actorly bits slow the pace, tipping youthful casualness into complacency.
  8. What starts as a bracing rush quickly devolves into a deadening assault of stimuli.
  9. Several large leaps of faith take some of the dramatic steam out of Unveiled, an otherwise well-acted and accessible lesbian drama that also flirts with issues like loss of identity and anti-Muslim tensions.
  10. Sometimes veering close to being a promotional film for the Special Olympics, pic will be applauded by the disability community and its advocates but quickly ignored by longtime fans of the Farrellys and Knoxville.
  11. In trying to make sense of an android’s point-of-view, Sono has sensibly turned repetition and routine into a narrative strategy, but the unrelieved tedium of The Whispering Star takes a toll. If anything, Sono’s past work has suffered from a an overabundance of jokes, digressions, and crazed visual flourishes, but their near-total absence here becomes a problem of another kind.
  12. That rare mystery in which auds know everything upfront and the characters, rather than investigating, simply wait for the culprit to turn herself in. Previously adapted as Swedish thriller "Den Osynlige," Mick Davis' script brings out director David S. Goyer's emo side.
  13. For the film to work, Holland needs audiences to connect as deeply with the trapped Jews as Socha eventually does. With the exception of the group's leader, movie-star handsome Mundek Margulies (German-born, internationally recognized Benno Furmann), the characters are flat as shadows.
  14. What starts out crisp and promising gives way to a conventional shoot-'em-up in Safe, a fast-paced but extremely familiar vehicle for Jason Statham, who can only carry the material so far on his brawny shoulders.
  15. Elektra proves no more than fitfully satisfying, a character-driven superhero yarn whose flurry of last-minute rewriting shows in a disjointed plot.
  16. A wildly uneven, sporadically slapdash action-adventure that amuses in fits and starts.
  17. We Are Your Friends” has its heart in the right place, and it’s shrewd and cuddly enough to get a few likes. But it would be an infinitely better movie if it sustained the sort of trancelike sonic ecstasy that turns fans into fanatics.
  18. The results veer between occasional smiles and outright pretension, with only Piccoli's mastery transcending the material.
  19. Virtually dialogue-free, the film opts for an almost perverse minimalism; even the camera is limited to the topography within the kids' purview.
  20. The yarn's emotional undercurrents never take hold, resulting in a picture that leaves one thinking less about the fates of the characters than about how the actors had to spend most of their working days soaking wet.
  21. It's mildly diverting for kids and families in a way that would be perfectly fine as an ABC Family cable project.
  22. Beads together complex ideas and gorgeously wrought segments like pearls on a string, but, with its emblematic characters and sometimes baffling, mystical storyline, pic ultimately remains emotionally distant.
  23. David H. Hickey's Lone Star comedy never really develops, stalling this culture-clash clambake at the merely likable stage.
  24. Sincere but unexceptional.
  25. Lack of much substance or dramatic payoff makes the whole significantly less than sum of its parts.
    • 52 Metascore
    • 50 Critic Score
    Sex frequently disguises itself as friendship and love in Wild Side, a morbid and self-important homosexual "Jules & Jim" for the new millennium.
  26. Although fronted by solid performances from Sienna Miller and Iranian actress Golshifteh Farahani as two desperate souls who bond over their shared love of belly dancing, this tale of friendship and rebellion on the open road reps a thin, obvious reworking of a well-worn template.
  27. Conceit often stretches -- and breaks -- the limits of what the tales can handle, though the implication of viewers as voyeurs gives pic a subversive edge.
  28. A potentially exceptional story is told in a flatly unexceptional manner.
  29. Goes beyond simple Bush-bashing to paint a horrifying portrait of organized U.S. imperialist expansion and public deception stretching back to the early Reagan era.

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