Variety's Scores

For 9,300 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 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Inside Out
Lowest review score: 0 Some Kind Of Beautiful
Score distribution:
9300 movie reviews
  1. Hitchcock is a diverting but dramatically insipid account of how the Master of Suspense took his biggest gamble and delivered his greatest success with "Psycho."
  2. The idea of framing Holocaust atrocities in contemporary genre terms, although intriguing, is not without its perils, and the secret, when revealed, looms too large to fit within the plot’s parameters, creating strange disconnects between form and content.
  3. Even by the standards of the recent "Saws," which have enjoyed considerably larger budgets than the first pic, the new edition is more frenetically cut (by editors Kevin Greutert and Brett Sullivan), more dimly lit (by lenser David A. Armstrong), sweatier in terms of perfs by the grimly serious cast, more madly packed with micro-incidents and action, and more brazen in requiring suspension of disbelief.
  4. Solidly crafted, strongly cast pic doesn't hit a thoroughgoing comic tone.
  5. David Duchovny scores considerably higher as director than as screenwriter.
  6. Good for a few lascivious titters but quite lacking in the sort of comic bite and social satire one hopes for in the work of Mike Nichols.
  7. No amount of Botox or false eyelashes can rejuvenate helmer Ray Yeung's Cut Sleeve Boys, which recycles way too many gay cliches.
  8. A deeper glimpse of the San Diego indie-rock scene around him might have made Brook's self-absorbed resentment less overbearing.
  9. Cruising somewhere between therapy drama and paranoid thriller, this middlebrow tone poem aims for ambiguity but often veers into soporific, suspending answers (and often, viewer interest) en route to an ending that explains all.
  10. A rare example of indie filmmaking produced outside the Thai studio system, Blissfully Yours takes the good-humored nonsense of director Apichatpong Weeasethakul's first feature, "Mysterious Object at Noon," several steps further into the realm of non-communicative minimalism.
  11. Its appreciation of Thomas’ work remains superficial, while the polished filmmaking never quite finds its own poetry.
  12. This makes the film feel perilously close to widescreen sitcom, as do montages of New York set to Beethoven's Sixth Symphony.
  13. Can be taken to task for its overt point-making, lackluster style and some late-on dramatic contrivances seemingly dragged in to provide a little violence.
  14. A few good laughs but few surprises in Next Friday, an amiably unfocused sequel.
  15. Not exactly an unholy mess, but still a rather too pious retread of classic sci-fi/action/horror riffs that lacks originality or pizzazz.
  16. Elaborately conceived from a visual standpoint, Ridley Scott's first sci-fier in the three decades since "Blade Runner" remains earthbound in narrative terms, forever hinting at the existence of a higher intelligence without evincing much of its own.
  17. Buday's astrology-themed romantic comedy boasts a promising premise, convincing chemistry between its attractive leads and fine thesping by a defensively edgy Jena Malone. But the uneven script, repetitive tropes and over-indulgence of actorly bits slow the pace, tipping youthful casualness into complacency.
  18. What starts as a bracing rush quickly devolves into a deadening assault of stimuli.
  19. Several large leaps of faith take some of the dramatic steam out of Unveiled, an otherwise well-acted and accessible lesbian drama that also flirts with issues like loss of identity and anti-Muslim tensions.
  20. Sometimes veering close to being a promotional film for the Special Olympics, pic will be applauded by the disability community and its advocates but quickly ignored by longtime fans of the Farrellys and Knoxville.
  21. In trying to make sense of an android’s point-of-view, Sono has sensibly turned repetition and routine into a narrative strategy, but the unrelieved tedium of The Whispering Star takes a toll. If anything, Sono’s past work has suffered from a an overabundance of jokes, digressions, and crazed visual flourishes, but their near-total absence here becomes a problem of another kind.
  22. That rare mystery in which auds know everything upfront and the characters, rather than investigating, simply wait for the culprit to turn herself in. Previously adapted as Swedish thriller "Den Osynlige," Mick Davis' script brings out director David S. Goyer's emo side.
  23. For the film to work, Holland needs audiences to connect as deeply with the trapped Jews as Socha eventually does. With the exception of the group's leader, movie-star handsome Mundek Margulies (German-born, internationally recognized Benno Furmann), the characters are flat as shadows.
  24. What starts out crisp and promising gives way to a conventional shoot-'em-up in Safe, a fast-paced but extremely familiar vehicle for Jason Statham, who can only carry the material so far on his brawny shoulders.
  25. Elektra proves no more than fitfully satisfying, a character-driven superhero yarn whose flurry of last-minute rewriting shows in a disjointed plot.
  26. A wildly uneven, sporadically slapdash action-adventure that amuses in fits and starts.
  27. We Are Your Friends” has its heart in the right place, and it’s shrewd and cuddly enough to get a few likes. But it would be an infinitely better movie if it sustained the sort of trancelike sonic ecstasy that turns fans into fanatics.
  28. The results veer between occasional smiles and outright pretension, with only Piccoli's mastery transcending the material.
  29. Virtually dialogue-free, the film opts for an almost perverse minimalism; even the camera is limited to the topography within the kids' purview.
  30. The yarn's emotional undercurrents never take hold, resulting in a picture that leaves one thinking less about the fates of the characters than about how the actors had to spend most of their working days soaking wet.

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