Variety's Scores

For 8,740 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 Bloody Sunday
Lowest review score: 0 The Trouble with Romance
Score distribution:
8,740 movie reviews
  1. Plays more like '70s drive-in fare than a monster mash of recent vintage.
  2. A Steve Martin vehicle that's not prankish or weird enough by half.
    • tbd Metascore
    • 40 Critic Score
    Camp is too elegant a word to describe it all.
  3. Aimed squarely at adolescents who might find "Bill & Ted's Excellent Adventure" too intellectually taxing.
  4. Revives the format but not the fun of classic Hollywood screwball comedies about rediscovering the virtues of a former mate.
  5. A handsome contraption that's never very engaging, let alone convincing.
  6. Eating Out: All You Can Eat somewhat departs from the series' gay spin on the raunchy teen sex comedy in favor of semi-sincere romantic comedy -- after a crass and abysmal first stretch, that is.
  7. With the exception of Akerman's Annie, the characters are uniformly annoying, their stories insubstantial and the tone one of smug contentment.
  8. Weaves a humdrum plot that's never ahead of the audience until three-quarters through.
  9. The future looks alternately grim and hysterical in Aeon Flux, a spectacularly silly sci-fier that plays like "The Matrix" crossed with "The Island" and reinterpreted as a long-lost Michael Jackson video.
  10. Indeed, you could argue that weighty questions about the nature of evil and the allure of sin figured more prominently in the similarly titled "Se7en," one of several other, better suspensers dimly echoed here.
  11. Shorn of eroticism, intensity or purpose... it strikes familiar beats in a manner more strained than inspired.
  12. Offering a smorgasbord of violence with liberal sprinklings of sex, Russian import Alien Girl delivers wearisome brutality but little finesse.
  13. Represents a passable follow-up to the venerable Peter Pan story and mercifully, at 72 minutes, is exactly half the length of the last attempt at same, Steven Spielberg's lamentable "Hook."
  14. Serves up a bland recycling of cliches and archetypes from just about every youth-skewing, dance-centric picture to hit the megaplexes since "Flashdance."
  15. Falcone’s attempts to spin this flat, formulaic comedy into an affecting character drama are frustrated by filmmaking choices that work against a sense of persuasive reality.
    • 51 Metascore
    • 40 Critic Score
    Something indeed wicked this way comes in a mangled Macbeth set in contempo gangland Melbourne.
  16. Good taste is the first fatality in this gonzo thrill-seeker, sure to offend mainstream dispositions, yet too stylistically audacious to dismiss outright.
  17. 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.
  18. Technically raw, and amusing only in hit-and-miss fashion, the no-budget independent production recalls too many other entries about erudite young adults wrestling with questions of love and sex.
  19. 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.
  20. Considering its theme and setting, there's something very wrong with a Good that seems merely competent, uninspired and a bit old-hat.
  21. Most frustratingly, the film rarely manages to meld its two parent genres at all, with musical-theater pastiche dominating the early going, and straight slasher pastiche taking over around the halfway point, and rarely the twain do meet.
    • 52 Metascore
    • 40 Critic Score
    Lock Up is made in the same, simplistic vein as most other Sylvester Stallone pics - putting him, the blue-collar protagonist, against the odds over which he ultimately prevails.
  22. Stanton has been given the resources to create an expansive, expensive world, but lacks the instincts to direct live-action, a limitation that shows most in the performances. Bare of chest and fair of feature, Kitsch doesn't exhibit enough charisma to carry a project of this scale.
  23. This undistinguished picture qualifies as an endangered species. As a digital babysitter, however, it may prove sufficiently efficient to generate fair-to-middling homevid sales.
  24. Lofty ambitions and unaffected sincerity are not quite enough to sustain The Keeper: The Legend of Omar Khayyam, a reverentially pokey drama that plays less like a conventional movie than a lengthy series of hagiographic historical tableaux.
  25. A by-the-numbers ensemble dramedy that hits every underdog and gay-fish-out-of-water cliche on the nose.
  26. Jessabelle serves up a murky and underwhelming cauldron of Southern-fried voodoo-horror claptrap.
  27. Screen chemistry and production crackle are lacking from this "Usual Suspects" wannabe.

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