Variety's Scores

For 8,931 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 Dawn of the Planet of the Apes
Lowest review score: 0 Showgirls
Score distribution:
8,931 movie reviews
  1. The screenplay by Sher-Niyaz, Bakytbek Turdubaev and Kyrgyz culture minister Sultan Raev takes an “important moments” approach to Kurmanjan’s life, requiring the casting of four different actresses. Unfortunately, the result plays like an illustration of her Wikipedia entry rather than providing any psychological insight into her feelings.
  2. A visually opulent but dramatically undernourished prequel to the 1979 hit of almost the same name.
  3. Lacks seismic guffaws but elicits many mild smiles.
  4. If anything, this Canadian production misses a great opportunity to dig into its setting and examine the dark side of seemingly pristine Toronto, even as the script by Elan Mastai and director David Weaver labors over a mostly boilerplate storyline.
    • 57 Metascore
    • 50 Critic Score
    The 3D is terrific in Flying Swords of Dragon Gate, but helmer Tsui Hark's costume actioner -- the first Chinese-lingo movie shown in the stereoscopic Imax format -- is let down by two-dimensional characters.
  5. This trifle about a dizzy downtown New York scenester who gets a grip on her life is energized by several attractive characters and enough youthful pep to put it over as an upbeat diversion for teens and twentysomethings, though it has no more substance than bubblegum music.
  6. As impressive as the CG elements are in "Chipwrecked," they're a mixed blessing: The more lifelike the techies make the critters -- Alvin (voiced by Justin Long), Theodore (Jesse McCartney) and Simon (Matthew Gray Gubler) -- the more we're reminded they're rodents.
  7. Uneven but modestly diverting.
  8. The characters at first seem photorealistic, but their faces barely move. There are good, basic sci-fi ideas in the script, but they're not satisfyingly developed.
  9. The troubled actor delivers a performance very few could pull off as a depressed father who begins communicating through a hand puppet, but Foster doesn't know how to manage it or navigate the script's seismic tonal shifts, and ends up producing a film that's deeply strange, yet incapable of leaving an impression.
  10. Will interest Rivette admirers at fests and in the niche arena but will do nothing to broaden his appeal.
  11. An undeniably powerful record of the Palestinian village of Bil'in's course of civil disobedience from 2005 to the present...the pic is also shamelessly sentimental and manipulative in its construction.
  12. Step Up Revolution, the fourth entry in the venerable dance franchise, is a narrative failure but a triumph of sheer spectacle.
  13. Its screaming-queen stereotypes will look pretty retro in most Western markets, even if an earnest pro-tolerance message disarms potential offense.
  14. A superficial look at the '50s sex icon, picture feels like it was researched via press clippings rather than attempting a fresh rethinking of its era and provocative subject.
  15. Veering crazily in tone, Inside Out might fail to catapult its star into wider acceptability, but should delight fans of lightly absurd actioners.
  16. Though it boasts slightly more narrative structure than his other work, Jaglom's script still serves as a catalyst for wild improvisation, suggesting the inside-jokey result was more fun to make than to watch.
  17. Valiant attempt to innovate in the well-trod realm of Boy Meets Girl doesn't quite coalesce despite a thoughtful and distinctive visual approach.
  18. Limp comedy-drama.
  19. There are potentially funny ideas, but the barely-there script, performances and direction go for a deadpan tenor that's not supported by much actual wit.
  20. One of the most highly crafted pics in recent memory, and certainly the most original in vision of the 23 features competing at Cannes this year, Songs From the Second Floor rapidly wears out its welcome after the first few reels to finish up as a perplexing objet d'art.
  21. Intermittently stirring and undeniably well made as it slowly unspools a multi-pronged drama set during the 1999 outbreak of the Second Chechen War, the picture has run-of-the-mill pacing and storytelling lapses that are compounded by its ultimately hectoring, didactic approach.
  22. Despite engaging performances from a cast led by Matthew Rhys and Kate Ashfield and pro direction by first-timer Richard Janes, yarn about art grifters lacks real snap, which ultimately stems from the so-so script and lack of real coin.
  23. Hellbenders becomes what it intends to burlesque, and that’s not so damn funny, even with 3D gimmickry.
  24. The didactic presentation, grim speechifying and tacked-on love story all signify a less-than-healthy regard for the audience's intelligence.
  25. Likeable, credible actors, snappy dialogue and a determinedly upbeat tone should work well on cable and score with Indian diaspora auds. But pic lacks density and spontaneity necessary to lift it out of its carefully posed and plotted set-ups and onto a bigscreen.
  26. After a long, glum slide, pic becomes an unconvincing story of redemption.
  27. Judd now is top-billed, but her performance is so resolutely humorless and businesslike that Freeman's gruffly affectionate warmth becomes doubly valuable, though not nearly enough to lend this generic project any special character.
  28. Despite Almereyda's strong following in arthouse circles, William Eggleston in the Real World --which requires patient if not repeat viewing -- will probably not venture far into it.
  29. This represents at least as much of an artistic setback for Smith as "Chasing Amy" and "Dogma" were advances.

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