Variety's Scores

For 8,564 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 Inherent Vice
Lowest review score: 0 Reasonable Doubt
Score distribution:
8,564 movie reviews
  1. In the end, Silent Hill degenerates into an overblown replay of all those "Twilight Zone" and Stephen King stories in which outsiders stumble upon a time-warped location from which there's no escape.
  2. Abominable goes completely over the top into an Ed Wood-meets-"Rear Window" subspecies of giddy, gory amateurish abandon.
  3. Soapy melodrama and a small-screen cast undermine the first-time director's efforts.
  4. Even a magnificently inspired Maria Bello proves insufficiently daring to save Richard Alfieri and Arthur Allan Seidelman's Chekhov-based chamber piece Sisters from pretentious psychodrama.
  5. With Mariel Hemingway a credible Sapphic Stallone, this passable action trash should satisfy as fun original programming for gay-targeted Here! cable net.
  6. A by-the-numbers ensemble dramedy that hits every underdog and gay-fish-out-of-water cliche on the nose.
  7. Throats are ripped, heads are crushed and limbs are severed with brutal efficiency throughout See No Evil, but that's not nearly enough to dispel the sense of deja vu that pervades this generic slasher thriller.
  8. Film plays as a quirky Brit riff on everything from U.S. slasher pics to revenge oaters but without Meadows' usual psychological complexity.
  9. The title alone should alert auds that The Big Buy: Tom DeLay's Stolen Congress is a hatchet job on the controversial politico known as "The Hammer."
  10. Justin Lo is -- in descending order of competence -- producer, director, editor, writer and star of debut feature The Conrad Boys. He should've hired a better actor for the lead, but then this low-budget indie would lack its vanity project raison d'etre.
  11. Adam Sandler's recent low-key phase continues with this cleverly conceived but conspicuously unfunny comedy.
  12. The politics of homophobia and child molestation receive a badly misjudged tweaking in Peter Paige's writing-directing debut, Say Uncle.
  13. A ponderous, self-indulgent bedtime tale. Awkwardly positioned, this gloomy gothic fantasy falls well short of horror.
  14. Any provocative questions LaBute might have wanted to raise are totally obscured as the rising tide of absurdity gradually overwhelms the entire enterprise.
  15. Seems so determined to reproduce the drudgery of police work, it's boring for the first hour, and only marginally more exciting for the second.
  16. It's obviously intended as a star vehicle, but Broken Bridges turns out to be a rattletrap jalopy for country music performer Toby Keith.
  17. A seesaw chronology and generally chaotic approach plagues Haven, an overly ambitious, multicharacter love story-cum-underworld revenge drama set on a fleetingly exotic island.
  18. Overstuffed and fatally miscast, All the King's Men never comes to life.
  19. This stunningly shameless follow-up to the 2002 theatrical sleeper (and homdevid mega-seller) offers more of the same -- a lot more -- while repeatedly upping the ante in terms of offensiveness. Which, of course, should greatly -- and profitably -- please is target aud.
  20. If all that Ian Inaba's latest Guerilla News Network missive, American Blackout, wants to do is get left Democrats worked up into a lather of righteous anger at crafty Republicans, it does so at the expense of speaking to any other group of Americans. As such, docu is extremely limited and almost without purpose except as an organizing tool for party foot soldiers.
    • 64 Metascore
    • 40 Critic Score
    The third feature from this Indian-born writer-director... is an underwhelming effort that adds little new to the debate over arranged marriages and fails to ignite much interest in the problems faced by two frustrated New Delhi wives.
  21. Unfortunately, almost everything about the film is so unbelievable and misjudged that only the most gullible audiences will feel any transporting thrill at the end other than from the movie finally being over.
  22. Story is incidental here, as auds merely anticipate the scares.
  23. Clearly, director Nolan is aiming for something else. But the delight in sheer gamesmanship that marked his breakout "Memento" doesn't survive this project's gimmickry and aspirations toward "Les Miserables"-style epic passion.
    • 71 Metascore
    • 40 Critic Score
    The handful of powerful speeches here do little, however, to offset story weaknesses that also include soft-edged characterizations, a faintly patronizing air regarding the black characters and a general avoidance of the issue most viewers will want to see addressed.
  24. Audiences won't show much clemency toward Death & Texas, an uneasy (and very unfunny) marriage of sports culture satire and death penalty polemic.
  25. Forgettable PG-13 pic will particularly strike fans of harder-edged recent horror pix as much ado about not much.
  26. Suffered from production fits and starts and reportedly has been cut down from a longer running time to a still tedious and repetitious hour and a half.
  27. Earnest but prosaic.
  28. The "Hostel" similarities may strike some as too close for comfort, not only in plot outline but also in general mix of xenophobia, sexploitation, sadism and gore.

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