Variety's Scores

For 8,878 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Arbor
Lowest review score: 0 Vulgar
Score distribution:
8,878 movie reviews
  1. Arguably the finest athlete in living memory deserves better than Michael Jordan to the Max, an honorific but unmoving portrait of the Chicago Bulls' No. 23.
  2. Loitering With Intent is essentially a 75-minute hangout movie, which would work better if the characters were worth hanging out with.
  3. Spanish writer-director Cesc Gay and Argentine co-director Daniel Gimelberg cook up one or two agreeably tart episodes in this uneven pic, but ultimately, it plays like "Four Rooms" without a budget.
  4. Unbalanced, unwieldy, and at times nearly unintelligible, Aloha is unquestionably Cameron Crowe’s worst film.
  5. Fails to get off the ground due to a by-numbers script and dodo-ugly character design.
  6. Family drama appears content to present the situation without going for anything remotely close to the emotional jugular. Result is unsatisfying and even dreary, despite some fine work from Zooey Deschanel and a becalmed Will Ferrell.
  7. What begins as a moderately interesting set of interconnected mysteries involving race and identity soon grows eye-rollingly laborious, not to mention increasingly derivative of Christopher McQuarrie's "Usual Suspects" script.
  8. There's nothing funny, provocative or involving about what "Shrek" co-writer Joe Stillman and the team from Madrid-based Ilion Animation Studios do with the notion here.
  9. An underwhelming and derivative sci-fi thriller that's only marginally more impressive than a run-of-the-mill SyFy Channel telepic.
  10. Although guided by considerable empathy toward its small circle of kinfolk eking out a living in southern Texas, Eska's tale of a woman's unconditional support of her father-in-law is told with a faux-poetic sensibility that never really connects with his characters' lives.
  11. Repetitive and needlessly prolonged tale does build to an inspired final scene, but it's too little, too late.
  12. An exercise in bad taste that takes itself just seriously enough to be offensive.
  13. Inspiration is running thin in comedian Margaret Cho's fourth concert film, a routine stand-up set that compares poorly to her oft-hilarious first two.
  14. Much of the early action, with Jonathan telling off his father, feels awkwardly staged, even tortured, a quality exacerbated by Levitas’ weakness with dialogue.
  15. Decently acted despite screenplay shortcomings.
  16. A demolition derby starring some of the most expensive cars on Earth, Redline portrays a world so drenched in wealth it gives off a stench.
  17. As the years go by and the kids grow — perhaps the only real benefit of Winterbottom’s approach — time begins to run together, making it all too easy for the mind to wander.
  18. The film toys with audience expectations and perceptions by playing fast and loose with circumstances and clues, while leading to an almost unavoidable and dismayingly obvious conclusion.
  19. Bland, canned but studiously professional sequel retains most of the principals from Fox's family-friendly 2003 hit, including the ever-reliable Steve Martin and Bonnie Hunt.
  20. This anything-goes exercise isn't dull -- one just wishes the outrageousness were more consistently funny.
  21. Unable or unwilling to match the visceral chops and moral provocations of superior serial-killer chillers, Righteous Kill is content to be a twisty genre exercise; it's like "Seven" as reimagined by M. Night Shyamalan.
  22. The edge achieved by director-editor-producer-scribe Garth Donovan is jeopardized by overreaching for topical relevance.
  23. Firth and Blunt make a strange couple, and Ariola a musicvideo helmer making his feature debut, should have devoted more time to making the chemistry work than to sustaining the melancholy mood.
  24. Story is incidental here, as auds merely anticipate the scares.
  25. The Hudsucker Proxy is no doubt one of the most inspired and technically stunning pastiches of old Hollywood pictures ever to come out of the New Hollywood. But a pastiche it remains, as nearly everything in the Coen brothers' latest and biggest film seems like a wizardly but artificial synthesis, leaving a hole in the middle where some emotion and humanity should be.
    • 38 Metascore
    • 40 Critic Score
    All of the top talent involved - especially Gene Hackman - is hardly needed to make Uncommon Valor what it is, a very common action picture.
  26. Rather than presenting a well-argued expose of the disturbing symbiosis that exists between Italo politics and TV, with Prime Minister Berlusconi being only the most obvious connection, the scribe-helmer gets sidetracked by marginal characters while keeping bare facts to a minimum.
    • 29 Metascore
    • 40 Critic Score
    Even in a self-absorbed role, Evans, who also exec produces, manages to be eminently likable, though the narration he’s asked to spew isn’t half as smart as the filmmakers think it is. Monaghan is luminous, and indeed, the actors shake every last bit of believability out of the thin gruel that’s given them.
  27. For most part, The Perfect Man is too bland to merit anything more censorious than a stifled yawn.
  28. Its provocative subject matter, though seriously treated, qualifies it as a dark-horse candidate for latenight cable.

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