Variety's Scores

For 10,835 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Ben-Hur
Lowest review score: 0 Divorce: The Musical
Score distribution:
10835 movie reviews
  1. Acquits itself well enough. Gratuitously gory and derivative to the core, Venom manages to deliver some effective frights in between large swaths of voodoo gibberish.
  2. Strenuous and just fitfully amusing.
  3. Michele Maher's Garmento appears more shocked at the fashion industry's cynical side than moviegoers are likely to be, making its drama of corruption a preordained snooze.
  4. Picture narrowly avoids outright bathos, thanks largely to first-rate perfs by its child thesps and by Ray Liotta. But by self-righteously rejecting facile solutions, then employing them anyway in the tradition of "no ending left behind," the result conforms to parents' old-fashioned notions of kid movies rather than demonstrating true kid appeal.
  5. Beginning brightly with goofy slapstick, irreverent humor and a dastardly plot to overthrow the monarch, the film squanders its early success in a second half marred by pedestrian pacing and ho-hum action scenes.
  6. It delivers — on some basic, giddy, turn-off-your-frontal-lobes level. It’s an action-comedy utensil, like “Rush Hour” crossed with an old Arnold Schwarzenegger shoot-’em-up, with a few goofy added sprinkles of “Romy and Michele’s High School Reunion.”
  7. An extraordinarily engrossing tale becomes an extremely uncinematic experience in the hands of Israeli documentarian Nadav Schirman.
    • 70 Metascore
    • 50 Critic Score
    Despite strategic references to Joan Baez and pot, pic's sense of time and place feels synthetic.
    • 72 Metascore
    • 50 Critic Score
    Distilled from a six-episode Israeli TV series, pic mostly fails to transcend its ramshackle structure or penetrate the inner-lives of its subjects.
  8. Director Mark Pellington hardly lets a moment pass without suggesting some bad vibes creeping onto the edges of the screen, but he's let down by Richard Hatem's script, based on John A. Keel's book, which delivers an ounce when it promised a gallon.
  9. Film has major assets in Walter Carvalho's stunning landscapes and livewire young lead Hermila Guedes, but overall, it's too uninvolving.
  10. Has almost zero plot but molto mood. It will appeal to the most faithful of the director's camp-followers and no one else.
  11. After a decent if formulaic setup, the story bogs down in dull midsection intrigue, and helmer Jonathan Newman doesn’t deliver as much excitement as expected in the climactic stretch.
  12. Plays closer to an after-school special (with HBO-standard dialogue) than a satisfying feature film.
  13. While the picture's reporting on government repression of alternative cultural ideas and lifestyles is noteworthy more than anything, it's a blatant promo for Chong's career.
  14. Modestly engaging but thoroughly predictable.
  15. A film noir set mostly in broad daylight, Don McKay, writer-director Jake Goldberger's mild riff on "Double Indemnity," etc., works best as a showcase for its veteran cast, particularly Elisabeth Shue.
  16. The rest of Sabotage rarely rises to Schwarzenegger’s level, in large measure because the other characters (of which there are far too many) aren’t nearly as sharply drawn by Ayer and co-writer Skip Woods.
  17. Has a terrible fascination that glues viewers to the screen. At the same time, audience patience is tested.
  18. Name cast, occasional deft touches and nifty contrast between the two locales cannot overcome script's terminal awkwardness.
  19. Despite an effective Jim Caviezel, this anecdotal drama never rises above the level of lightly likable.
  20. It's not exactly good, but it's not bad, and far from boring.
  21. The Basketball Diaries is a weak-tea rendition of Jim Carroll's much-admired cult tome about his teenage drug addiction. Leonardo DiCaprio's committed lead performance deserves a better context than this gloss on the source material.
  22. Amusing but unevenly inspired tale of a deluded high school drama teacher's attempt to stage a career-saving extravaganza has some laughs, to be sure.
  23. Though energetically shot and blessed with some appealing performances (including winningly strange cameos for theater darlings Lin-Manuel Miranda and Darren Criss), Speech & Debate never manages to make a convincing case for itself.
  24. This visually impressive yet emotional frigid fable could perhaps more accurately be tagged "The Bipolar Express."
  25. So insubstantial that it practically evaporates on screen, Pooh's Heffalump Movie likely will play best with toddlers and pre-schoolers easily amused by bright colors, merry songs and lovable, huggable toon animals.
  26. Saddled with more industry/celebrity baggage than a high-class safari voyage, Sahara is a rousing and only occasionally ridiculous adventure yarn.
  27. Although rich in screwball silliness and sharp one-liners, film lacks the narrative drive one finds in the classic comedies of Preston Sturges, Frank Capra and Billy Wilder, whom Crowe always seems to try to emulate.
  28. Limply cute, with underdeveloped subplots and secondary characters, this sitcomish dramedy shares the source material’s primary fault: For a story about a supposed genius, it’s not all that clever or complicated.

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