Variety's Scores

For 8,206 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 The Fast Runner (Atanarjuat)
Lowest review score: 0 Wash Dry and Spin Out
Score distribution:
8,206 movie reviews
  1. This tale of a Long Island dental hygienist dealing with various family crises is likable enough, but never really distinctive in character delineation, tone, atmosphere or plotting.
  2. The result is Sam (Mark Duplass, "The Puffy Chair" and "Humpday"), a 34-year-old unemployed rocker whose mediocre musicianship is matched only by his abysmal people skills; he's like Jack Black without any energy or confidence.
  3. A romantic-comedy-cum-serial-killer-movie that bends genre to the point of snapping.
  4. Thesping is more engaging than accomplished, as Anderson's constant smile cracks around the edges and Northover's dourness is a bit overdone.
  5. If "Freaky Friday" had an impudent, foul-mouthed little brother, it would be The Change-Up, an often needlessly crass, bromance-oriented spin on the body-swap comedy.
  6. Unfortunately, the unconvincing fictional storyline Rosenbaum weaves around this solid musical base hits every meller cliche in the "self-destructive rock star" playbook.
  7. Loud, tedious and unattractive in every sense, this barrage of blood set during the Franco regime combines the helmer's customary cartoonishness with horror and ups it a thousand notches.
  8. Where helmer Adam Wingard's prior "Pop Skull" used a jittery style to convey its delusional, possibly meth-addled protagonist's mindset, here, too much handheld camera wobble and wavering image focus only alienate the viewer from this somewhat sluggish tale.
  9. Suffers from severe problems of tone, a surfeit of undeveloped plot points and characters, and bland direction.
  10. Despite stretches of skillfully sustained suspense, Apollo 18 ultimately comes across as little more than a modestly clever stunt.
  11. Clunky allegorical elements, however, remain unsatisfyingly ambiguous throughout the picture.
  12. Finding a pulse only in the band's late-reel performance of "Alive," a lusty passage that would've begun a pic intent on making a case for the group's greatness, "Twenty" simply counts the years from 1991 via sludgy backstage and onstage footage whose rarity can't forgive its inclusion. Crowe's critic mentor, the late Lester Bangs, would cringe.
  13. While the result is yet another story of African suffering told from a white do-gooder's perspective, this particular do-gooder is intrinsically fascinating enough to warrant attention, albeit more nuanced attention than he receives here.
  14. This sloppily constructed horror-thriller lacks the satirical bite and action chops to skewer extreme-right-wing zealots with the gusto Smith clearly feels they deserve, instead evincing the verbal incontinence and slack tension that have long dogged the writer-director's work.
  15. Poorly conceived 60-minute picture might have fared better as a more straightforward documentary.
  16. Unable to establish a consistent tone, picture goes derivatively screwball one minute and stickily sentimental the next.
  17. Shovels enough dirt on the Tea Party guru and self-described hockey mom to satisfy her haters, but lacks sufficient humor and insight to make it a must-see for anyone outside the Brit muckraker's fan base.
  18. A draggy, generally laugh-free outing that wastes a perfectly good Anna Faris.
  19. Script by former DEA officer Don Ferrarone isn't that bad in itself, but matters aren't helped by the mumbled performances and poor sound, which make it hard to hear what anyone's saying, while sloppy editing wreaks havoc on the story.
  20. Impressive as the combination may seem on paper, having Sheridan direct this sort of genre fare reps a clear miscasting of helmer and subject, as he displays no particular feel for the material and is unable to overcome the story's generic approach, lack of striking psychological ideas, and literal-minded denouement.
  21. The film's frustratingly elliptical style and lack of character insight give it a distinctly first-draft feel.
  22. Clumsy melodrama, which looks and sounds no better than an average made-for-cabler.
  23. Its provocative subject matter, though seriously treated, qualifies it as a dark-horse candidate for latenight cable.
  24. Mistaking over-the-top dysfunctional family cruelty for comedy and drama, Another Happy Day tries and fails to channel "Rachel Getting Married" in its protracted tale of a wedding-party weekend that turns predictably from scabrous to redemptive.
  25. Despite much verbal huffing and puffing, rifle waving and scimitar rattling, Cherkess proceeds with an astounding lack of action.
  26. Surely the least excitable beauty-meets-Bigfoot film ever made.
  27. Navigating the film's mounting erotic bloodlust proves tedious, until the show-stopping final battle between gods and Titans in one chamber, Theseus and Hyperion in another, at which point logic melts away completely and the pic's raison d'etre emerges -- namely, to justify staging a fight scene for the ages.
  28. Yet the picture's general stupidity, careless direction and reliance on a single-joke premise that was never really funny to begin with are only the most obvious of its problems.
  29. One and one (and one and one and one and one) never quite add up to two in Darren Lynn Bousman's 11-11-11, a rather anemic entry in the biblical-prophecy horror subgenre.
    • 59 Metascore
    • 40 Critic Score
    Thinly amusing tale with not-especially-appealing characters.

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