Variety's Scores

For 8,649 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 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Manchurian Candidate
Lowest review score: 0 Being Human
Score distribution:
8,649 movie reviews
  1. If drive-ins still existed, this film would rule there for weeks.
  2. Instructions Not Included is a sporadically amusing but unduly protracted dramedy that slowly — very slowly — devolves into a shameless tearjerker during its third act.
  3. As violent as its predecessor yet noticeably duller and less outrageous, Machete Kills is dragged to the finish line entirely by its director’s madcap energy and an absurd cast of major stars in strange cameos.
  4. Hoge shows no particular directorial style, bringing a bland, anonymous look to the generic Southern California suburban locations.
  5. With very little dialogue, and even less plot, five chapter stops lend the movie a skeletal structure: "Wrath," "Silent Warrior," "Men of God," "The Holy Land" and "Hell." But any discussion of the Dark Ages conflict between paganism and Christianity is reduced to just grunts or insults.
  6. As fiction characters go, Ryden seems as dull as they come, making it hard to muster much sympathy for her plight.
  7. Seth MacFarlane has delivered a flaccid all-star farce that’s handsomely dressed up with nowhere to go for most of its padded two-hour running time.
  8. A largely dull history lesson…stripped of any backgrounding, peopled with archetypes rather than fully-drawn characters, and features self-consciously arty direction that gets in the way of story-telling.
  9. The movies by their very nature require a certain suspension of disbelief, but Mission Park requires more suspension than a two-ton crane could provide.
  10. Let My People Go! offers an unholy alliance of camp and farce that both celebrates and mocks gay and Jewish stereotypes.
  11. The critters look cute, but behave less so, while the competing-heists concept never quite takes off.
  12. Without fully fleshed-out generic or social contexts, left-wing documentarian Philippe Diaz's preachy mix of graphic free love and polemical diatribe fails to mesh as fiction, though it does make for superior porn.
  13. Beyond the participants' friends and co-workers, it's hard to imagine an audience for this professionally packaged exercise in navel gazing.
  14. Unsettles without illuminating, marred by narcotic pacing and a blank lead performance.
  15. Though the low-budget picture is not without interest, its uneven thesping, sound quality and special effects might prove more welcome on the fest fringe.
  16. A typically smart performance by Juliette Binoche isn't enough to keep Elles from drowning in pseudo-intellectual pretension and general banality.
  17. Refreshing strokes of science-fact in the early sections give way to action strictly from the Ridley Scott-James Cameron playbook, but without a powerful helmer behind the camera or a memorable cast in front.
  18. Though its subject has curiosity value, its critical view of religious institutions is compromised by an ending that evidently was necessary for the film to be made and released at all.
  19. Hobbled by uninspired stabs at cleverness and surreal narrative curlicues, The Big Empty goes nowhere, replete with a question mark of an ending that isn't worth answering.
  20. One part inspiration to two parts exasperation, Andrew T. Betzer’s debut feature, Young Bodies Heal Quickly, is an initially arresting road trip for some off-the-wall characters that takes its sweet time going nowhere in particular.
  21. A tone of fanciful absurdity is maintained throughout.
  22. Pereda moves into territory where atmosphere and tone are more important than story or character.
  23. Valerie Harper essays a Catholic twist on her yakkety yenta "Rhoda" persona, while Giancarlo Esposito, as the wise, hip priest heading the retreat, is called upon to bring believability to a film low in that commodity.
  24. Some viewers may feel as though, instead of watching a feature, they're paging through a book of rough sketches by a deranged Disney alumnus.
  25. Extravagant but exhausting...this over-the-top oater delivers all the energy and spectacle audiences have come to expect from a Jerry Bruckheimer production, but sucks out the fun in the process,
    • 54 Metascore
    • 40 Critic Score
    Despite its intermittently amusing dialog, however, Deathtrap comes across as a minor entertainment, cleverness of which cannot conceal its essential artificiality when blown up on the big screen.
  26. Last Love sticks to a flaccid middle ground lacking any real drama or pathos.
  27. An unfunny, manipulative romance about two unlikable people and their prop of a son, the pic mangles the premise of its source material ("Baster," a 1996 short story by Pulitzer-winning novelist Jeffrey Eugenides) in ways that ought to baffle viewers of all sociopolitical stripes.
  28. A listless romantic comedy that, almost out of desperation, turns a little more violent than necessary near the end.
  29. This monotonously deadpan coming-of-age comedy has little to recommend it beyond some beautiful widescreen cinematography and the momentary kick of seeing David Duchovny looking like a stoned Jesus as Goat Man.

Top Trailers