Variety's Scores

For 8,173 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 Born on the Fourth of July
Lowest review score: 0 Reasonable Doubt
Score distribution:
8,173 movie reviews
  1. One can guess how the elements here might have been alluring on the page, but helmer/co-scenarist Michael Knowles' third feature doesn't find the distinctive tone needed to make its eccentric characters less than irksome and its plot more than arbitrary.
  2. Some of Weiss' funniest material gets lost between episodes of outright silliness; to paraphrase Mark Twain's assessment of Richard Wagner, the film is smarter than it looks.
  3. Poised between revisionist fairy tale and smirking sendup, this gaudy, over-frosted cream puff of a movie half-heartedly positions its famous heroine as a dagger-wielding proto-feminist, yet ultimately suffers the same fatal flaw as Julia Roberts' evil queen: It doesn't really care about anything except how pretty it looks.
  4. This South Los Angeles-set dramedy flirts with terminal stereotypes and high-school movie cliches right and left.
  5. While it's poignant seeing the whole gang again, the tired gross-out antics and limp romantic reprisals keep this hapless if heartfelt effort from qualifying as a decent comedy, let alone a generational classic.
  6. The film is ultimately an untenable muddle.
  7. While the world could certainly use more films about characters entering their sunset years, a solution as toothless and saggy as Julie Gavras' Late Bloomers does little to help the cause.
  8. Although helmer Curt Hahn champions the causes of racial justice and crusading journalism, he can't seem to find a tone that's consistent or that befits the gravity of his subject matter.
  9. While the result deserves some credit for finding a creative way to bring the book to life, the overlapping storylines simply aren't compelling enough, despite the best efforts of a game and attractive cast.
  10. ATM
    Seems assembled from autopilot thriller material, with most of the dull dialogue devoted to plugging potential plot holes rather than anything resembling logic.
  11. The body count runs high at Brangwyn boarding school, but tension, surprise and viewer interest are the real casualties in The Moth Diaries.
  12. When a novel gives you soapsuds and washboard abs to work with, what other choice does a director have but to provide the most aesthetically pleasing actors, scenery and sets to disguise the thinness of the underlying material.
  13. A typically smart performance by Juliette Binoche isn't enough to keep Elles from drowning in pseudo-intellectual pretension and general banality.
  14. The script unfortunately suffers from its own case of arrested development, barely getting out of the gate before stalling, and never building enough laughs or narrative impetus to justify feature length.
  15. A scattershot Southern melodrama that can't decide what it's supposed to be.
  16. "I had no conception of the depths of your emptiness!" a character shrieks in Bel Ami, and her words take on an unintended resonance as addressed to Robert Pattinson in the lead role.
  17. Director Baget clearly strives to replicate the ersatz Dixie flavors of "O Brother, Where Art Thou?" right down to the vintage '30s music in a film set in the 1970s, but nailing the Coen brothers' precisely calibrated style is far harder than it looks.
  18. The end of the world can't come fast enough in Seeking a Friend for the End of the World, a disastrously dull take on the disaster-movie formula.
  19. Instead of adding to the experience, the picture's ill-conceived twists amount to a severe miscalculation on Cortes' part.
  20. The jazz-scored picture relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings.
  21. 360
    With a multilingual cast of mostly unfamiliar faces, plus a few stars, 360 feels too abstract, orchestrating break-ups and hook-ups in a passionless vacuum.
  22. The French are smelly, vulgar, racist and oversexed, or so it would seem based on 2 Days in New York, a scattershot culture-clash comedy that goes down like yesterday's foie gras.
  23. 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.
  24. Grief doesn't rate high among emotional states suited to high-octane presentation; hence the disconnect between excessive style and sober content in Burning Man, a feature-length montage posing as a serious drama about loss and anger.
  25. Watching people take their lives into their hands shouldn't be as tedious as Nitro Circus: The Movie 3D, which could be described as "Jackass" with a death wish (or "Wipeout" without the water).
  26. The Sweet Inspirations ranked as one of the most important backup singing groups in record-industry history, having performed with Aretha Franklin, Van Morrison, Dionne Warwick, Jimi Hendrix, Nina Simone, the Drifters, Wilson Pickett, Dusty Springfield and Elvis Presley. Yet, aside from an occasional still photograph, not a single frame of archival footage from their illustrious careers shows up in This Time.
  27. After a promisingly funny first half, this tale of three coke-snorting gal-pals trying not to screw up their friend's nuptials all but drowns in its own catty cynicism, turning as stingy with emotion and insight as it is with real laughs.
  28. As a director, Louiso operates within a narrow emotional range; while not as bleak as "Love Liza," the film feels similarly monotonous and desperately needs more dramatic fluctuation.
    • 55 Metascore
    • 40 Critic Score
    Geoffrey Rush and Judy Davis bookend a cast consisting of some of Oz's finest thesps, but Schepisi never gets a grip on a script with awkward literary tics.
  29. This messy amalgam of mysticism, romance, satire, social criticism and cartoonish f/x seems destined for discount DVD bins.

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