Variety's Scores

For 8,839 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Around The World In 50 Concerts
Lowest review score: 0 Being Human
Score distribution:
8,839 movie reviews
  1. Problematically structured, overly protracted and lacking in narrative fluidity.
  2. There are certainly no fresh ideas risked in this first directorial feature by voice actor-turned-scenarist David Hayter (“X-Men,” “Watchmen”), but Wolves could be worse, being as fast-paced and polished on a “B” budget as it is forgettable.
  3. Only a curmudgeon would deny the pic its moments of clean, wholly predictable fun.
  4. Impeccably crafted but dramatically dull.
  5. It's certainly an unusual movie, aiming more often than not for pathos rather than pratfalls while nonetheless maintaining a slapstick tone, but it remains resolutely unmemorable.
  6. Diverting in bits and pieces, but absent the heart, soul and ingenuity one associates with the best of Disney animation, the endlessly merchandisable picture could very well soar at the box office, but it won’t stick the landing where word of mouth is concerned.
  7. The entire star-crossed scenario is conveyed with the narrative simplicity of a musicvideo, lingering in an almost fetishistic manner on sensual details (boxes of chocolates, a blood-red ribbon) while compressing important elements of the story into clumsy montages.
  8. The film is hamstrung by its fidelity to real-life inspirational models.
  9. Earnest but prosaic.
  10. Neither scary, funny, nor anywhere near as clever as it seems to think it is, picture offers audiences few reasons to want to see it beyond its one-joke premise.
  11. In its avoidance of all ambiguity, this giant-screen opus ultimately boils down to a rhapsodic endorsement of the tourism and shopping industries.
  12. A broad African-Amerian family comedy that manages to avoid many of the more predictable cliches of the genre, yet also leaves out the warmth and, too often, the laughs.
  13. Too familiar in its basic trajectory to be fresh or compelling.
  14. Lahti's feature directorial debut walks an innocuous middle line between the story's maudlin possibilities and its meaningful potential.
  15. A humorless, relentlessly ethnocentric docu about Jews in basketball.
  16. Intermittently enjoyable hokum at best.
  17. Breaks down when it gets to the distant future, which in this case isn't a good place to be stranded.
  18. The confused script makes this a tough film for audiences to dig into.
  19. This Dog won't hunt. Although well crafted and handsomely mounted, pic lacks sufficient sizzle.
  20. Has the frustrating feel of a rousing, epic oater sadly compromised.
  21. It's obviously intended as a star vehicle, but Broken Bridges turns out to be a rattletrap jalopy for country music performer Toby Keith.
  22. 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.
  23. The live event was hopefully more engaging than this dull adaptation.
  24. Suffers from severe problems of tone, a surfeit of undeveloped plot points and characters, and bland direction.
  25. Since the new pic contains little that's genuinely amusing or minimally original, it likely will fail on its own merits.
  26. The result is a rough-edged, head-scratching mix of tones. Fortunately, musicvideo vet Rhein's competent helming skills counterbalance her off-putting dialogue and flat acting style so that the picture doesn't come off strictly amateur.
  27. This obsessive love story about a guy seeking closure after being dumped by his Latino boyfriend awkwardly juggles screwball and noir elements with macabre black comedy in a mix that calls for a far lighter, more stylish touch than the obvious one at work here.
  28. The filmmakers seem split between doing it straight and gleefully ripping up the genre, and never make up their minds.
  29. The Women is less about getting even than about inspiring that same mushy sense of female empowerment you might find in a Tyler Perry meller, complete with manic mood swings and full-blown diva moments.
  30. An annoying example of self-therapy posing as art.

Top Trailers