Variety's Scores

For 8,501 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 At Berkeley
Lowest review score: 0 Rollerball
Score distribution:
8,501 movie reviews
  1. 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.
  2. Poorly conceived 60-minute picture might have fared better as a more straightforward documentary.
  3. Unable to establish a consistent tone, picture goes derivatively screwball one minute and stickily sentimental the next.
  4. 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.
  5. A draggy, generally laugh-free outing that wastes a perfectly good Anna Faris.
  6. 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.
  7. 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.
  8. The film's frustratingly elliptical style and lack of character insight give it a distinctly first-draft feel.
  9. Clumsy melodrama, which looks and sounds no better than an average made-for-cabler.
  10. Its provocative subject matter, though seriously treated, qualifies it as a dark-horse candidate for latenight cable.
  11. 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.
  12. Despite much verbal huffing and puffing, rifle waving and scimitar rattling, Cherkess proceeds with an astounding lack of action.
  13. Surely the least excitable beauty-meets-Bigfoot film ever made.
  14. 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.
  15. 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.
  16. 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.
  17. Burdened with risible dialogue and weak performances, picture doesn't have much going for it apart from lavish production design and terrific, well-researched costumes -- and it's in focus, which is more than can be said for the script.
  18. Few of the plot strands connect to one another, much less resolve themselves with any degree of wit or daring.
  19. Though conceived in whimsy, Minoes generally lacks imagination; once the premise is established, familiar plot conventions reign.
  20. Apart from the occasional thrill provided by CG-enhanced aerial dogfights, this stuffy history lesson about the groundbreaking African-American fighter pilot division never quite takes off, weighed down by wooden characters and leaden screenwriting.
  21. Watching TV feels fundamentally old-fashioned in its storytelling. Thesping is solid, particularly by O'Nan, Nam and Jacobs. But the conversations feel artificial, overly concerned with re-creating period detail or interjecting relevant philosophical life concepts.
  22. The helmer's blockbuster ambitions, striving to make every move a money shot, relegate human drama to the backseat.
  23. Uncomfortably confessional or wildly melodramatic plot twists work interestingly in the moment, but wobble in retrospect. Pic's overarching structure is further weakened by Schaeffer's half-hearted attempt to tie together loose ends.
  24. Mackenzie's second collaboration with Ewan McGregor (following 2003's "Young Adam") tritely tosses together two indifferently conceived characters against a backdrop of global panic that generates no urgency.
  25. This screwball premise lives or dies by the chemistry between Pine and Hardy, who are too busy trying to out-appeal one another to make the buddy dynamic click.
  26. Unfortunately, the documentary's impact is mitigated the benefactor's constant presence and paternalistic, infomercial-like exposition.
  27. Some six or seven men (women conspicuously absent), including a mayor, an immigration lawyer, a congressman and a "coyote," offer views on immigration. Unfortunately, they all say the same thing -- and it's nothing new, affecting or articulate.
  28. Documentary's insistent inflation of buried gold jewelry and watches into symbols of heroic defiance and transcendental tragedy rings hollow in the wake of weightier Holocaust testimonials.
  29. The picture is still much too rickety, slapdash and surprisingly dull to qualify as a good barrel-bottom pleasure.

Top Trailers