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 Patton
Lowest review score: 0 Freddy Got Fingered
Score distribution:
8,649 movie reviews
    • 24 Metascore
    • 40 Critic Score
    Director Russell Mulcahy can’t seem to decide from one scene to the next whether he’s making a sci-fi, thriller, horror, music video or romance – end result is a mishmash.
  1. Not a thriller so much as an extremely violent swimsuit calendar, the lushly lensed but dramatically waterlogged Into the Blue is too infatuated with its scantily clad stars to make sense of all the drug dealers, boat looters and bloodthirsty sharks trying to hunt them down.
  2. Unfortunately, interest lags between the grisly deaths, and, worse, none of the characters generates rooting interest.
  3. A walk on the "dark side" that moves far more slowly than limited character insight requires.
  4. Abominable goes completely over the top into an Ed Wood-meets-"Rear Window" subspecies of giddy, gory amateurish abandon.
  5. 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.
  6. 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.
  7. Public fascination with Texas Hold 'em and other poker variations will likely bolster B.O., though more discriminating auds may choose to pass.
  8. Pic's air of connoisseurist homage overwhelms a haphazard screenplay and characters who are hard to warm up to.
  9. Cute and clever though the plot may be, everything is played out in the broadest possible terms without an iota of nuance or subtlety.
  10. Acquitting herself capably in a lead role that strips her bare in more ways than one, Robin Weigert (HBO’s “Deadwood”) proves worthy of a future in features, whereas first-time writer-director Stacie Passon mainly exposes her background in commercials.
  11. Utterly routine futuristic horror-thriller The Colony substitutes the term “ferals” for plain old zombies (the modern, fast-moving kind), and that’s about it for originality.
  12. An unappetizing mix of raucously vulgar comedy and teen-angst melodrama.
  13. With extended closing credits, Marmaduke clocks in at 88 minutes and feels longer.
  14. The film continually resists coherence or synthesis, with puzzles left unresolved amid multiplying possibilities and highly repetitive flashbacks, yielding a mystery that wearies rather than intrigues.
  15. An inspirational sports drama that goes long on rectitudinous sermonizing but comes up short on gridiron thrills or genuine love for the game.
  16. Despite stretches of skillfully sustained suspense, Apollo 18 ultimately comes across as little more than a modestly clever stunt.
  17. It’s as if the director can’t decide what he wants: to chronicle the disintegration of a family, or to take a magnifying glass to a woman whose mania overwhelms all rational thought.
    • 71 Metascore
    • 40 Critic Score
    Central performance by Mirjana Karanovic is instantly endearing. Unfortunately, film coasts on thesp's ability to evoke sympathy and leaves her stranded in this yarn that's all setup and little payoff.
  18. Complex story twists unfold to confusing effect, while characters angrily toss cliches at one another and revelations multiply rather than resolve murky plot developments.
  19. An appealing female cast gives the hollowly formulaic Mona Lisa Smile more dignity than it perhaps deserves, yet it's Julia Roberts in an ill-suited starring role that represents one of the film's chief shortcomings.
  20. This botched remake of "The Day the Earth Stood Still" seriously dishonors the seriously fine 1951 sci-fi landmark on which it's based.
  21. Just about every charge of social negligence leveled at Spring Breakers can be countered with an arch claim of intent, which makes it at once playful and wearying; enjoyment is contingent on how little you're willing to fight it.
  22. It often resembles John Cassavetes' "A Woman Under the Influence," but just as often devolves into a series of bravura acting exercises strung together by an increasingly sketchy narrative theme.
  23. One dead giveaway that the comedy isn’t working is the film’s score, which overcompensates throughout by attempting to bolster every second with bouncy energy.
    • 40 Metascore
    • 40 Critic Score
    Although it's notoriously difficult to play a romance involving one partner's disability or illness without resorting to sentimentality, Kilmer acquits himself admirably.
  24. Doesn't ring true as a love story between a cocky scam artist and a clever biology student, despite a game effort by Charlotte Ayanna in an impossible role and Adrien Brody at his loosest.
  25. Isn't an embarrassment. Rather, it's an acceptably executed, thoroughly routine time-killer.
  26. Pic stays on the surface, without attempting any exploration of painful depths. Result is at best amusing; at worst, uninvolving, often confusing, and sometimes a little boring.
  27. Marin Ireland makes a winning lead, but the script by helmers David Conolly and Hannah Davis ran out of gas in 2008, which is when the film was made.

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