Variety's Scores

For 9,169 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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 Django Unchained
Lowest review score: 0 Persecuted
Score distribution:
9,169 movie reviews
  1. Director Doug Liman churns out a serviceable sci-fi thriller/videogame template that plays like "The Matrix Lite" and, finally, isn't nearly as cool as its trailer.
  2. Film isn't scary, per se, but it's mostly effective nonetheless, with Cooper capably steering his character from charming young artist to nervous wreck, evoking Ralph Fiennes' more unhinged turns along the way.
  3. An ungainly hodgepodge of vaudeville-style comedy, turgid soap-operatics, and joyful epiphanies of gospel-flavored uplift.
  4. If Benicio del Toro designed Hallmark cards, or if "Lady and the Tramp" were lesbians, they'd have a lot in common with Jack & Diane, a well-constructed, well-intentioned but too deliberate attempt to provoke the unprovokable.
  5. Two superb, nervy and delicately nuanced performances by newcomers Clint Jordan and Kirsten Russell enliven and momentarily elevate writer-director Joe Maggio's Virgil Bliss above the familiar post-prison-drama cliches to which it so strenuously adheres.
  6. Collectively, Thanks for Sharing boasts more than enough personalities to keep things interesting, but it lacks the casual spontaneity to make these characters’ journeys anything other than predictable.
  7. Though the Pangs prove culturally adaptive on a visual level, they seem completely clueless as to the tonal modalities of Mark Wheaton's admittedly undercooked, all-American script.
  8. Colorless exposition and a lack of imagination or wit stall Father of Invention at the starting gate.
  9. A so-so heist-gone-awry thriller, light on the thrills, Armored doesn't exactly take its audience captive.
  10. Paul Viragh's script is too bitty to hold it all together, and filigrees of technique fail to disguise the weaknesses in helmer Mat Whitecross' first solo flight.
  11. The performances are fun, if musically only adequate -- there are no evident virtuosi languishing within Angola's walls -- and Chiarelli's attempts to frame matters philosophically fall a little flat.
  12. Pic's future as a cult item is a sure bet.
  13. As rich in period and historical background as it is deficient in fresh dramatic and thematic ideas.
  14. Wildly uneven effort, which is notably more strained and slapdash than such earlier efforts as "Madea's Family Reunion" and "Tyler Perry's Meet the Browns."
  15. Kelly's trademark mix of sci-fi, surrealism and suburbia occasionally entertains.
  16. Loaded with history, interviews, hole-cam drama and some rather grand digressions, Douglas Tirola's picture seems a bit late for the poker craze, and at any rate will be preaching largely to the converted.
  17. Physicality of the second half, then, will keep the audience going, but it is not quite sufficient to camouflage the elemental silliness of storyline.
  18. Sarah Silverman: Jesus Is Magic showcases the comic-actress in her familiar on-stage persona as a blithely self-involved Jewish American Princess whose penchant for perky vulgarity can be explosively funny or unnervingly shocking.
  19. Crazy new gadgets, vigorous action sequences and a thorough production-design makeover aren't enough to keep Total Recall from feeling like a near-total redundancy.
  20. A lightly feminist, good-naturedly comic sketch of a Chinese-American family in crisis. But despite pic's earnestness and obvious good intentions, narrative elements, carefully set forth though they may be, fall back on overfamiliar, underdeveloped tropes.
  21. An unexpected departure off the map, flinging together elements of Alpine musical, ghoulish Jan Svankmajer-style claymation and a family portrait so hokey it makes the Brady Bunch look hip.
  22. Apparently needing to release some private thoughts, musings and images to the world, Anthony Hopkins takes a leap into stunning self-indulgence with his directorial debut, Slipstream.
  23. W.
    For a film that could have been either a scorching satire or an outright tragedy, W. is, if anything, overly conventional, especially stylistically.
  24. A less raucous and more serious-minded neighborhood comedy than its entertaining predecessor.
  25. The comedy feels forced as Fey works overtime to insert unnecessary zingers at the tail of every scene. If the cast weren’t so endearing, her actions could easily sour an audience on the whole experience, and Admission digs itself a hole only an ensemble this appealing can escape.
  26. The documentary has but one revelatory insight -- that "The Lion King" can be read as an allegory of the territorial peeing match between big cats Michael Eisner, Roy Disney and, least flatteringly, Katzenberg.
  27. While the effort is admirable, the result is a bit unwieldy, casting too wide a net to really plumb its subject’s depths, and defanging some of Steadman’s acid wit with an overly busy, hit-and-miss aesthetic approach.
  28. Covering a lot of ground in colorful, pacey fashion, the documentary is nonetheless somewhat compromised itself by co-director Ami Horowitz's insistence on playing the Michael Moore/Morgan Spurlock role of onscreen provocateur.
    • 62 Metascore
    • 50 Critic Score
    This $40 million look at Jim Morrison's short, wild ride through a rock idol life is everything one expects from the filmmaker - intense, overblown, riveting, humorless, evocative, self-important and impossible to ignore.
  29. Bubbles along with a jaunty but unoriginal blend of the sweet, tart, cute and weepy.

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