Variety's Scores

For 10,894 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 King of the Hill
Lowest review score: 0 Vulgar
Score distribution:
10894 movie reviews
  1. The movie’s one recurring joke stems from watching Shaina catch strangers off-guard, and it starts to wear thin by around the one-hour mark, when things start to turn dark.
  2. This methodical courtroom drama is charged with impassioned performances and an unimpeachable liberal message. But its stodgy emphasis on telling over showing will limit its reach to Civil War buffs and self-selecting older viewers.
  3. Loveless exerts a low-energy, dread-tinged fascination that intrigues rather than wows.
  4. The segments vary in quality and the whole overstays its welcome at nearly two hours.
  5. Not content with a straight psychological police procedural, Alvart mixes in distracting -- and unconvincing --Biblical symbolism in a curious bid for weightiness.
  6. Striking and self-indulgent in equal measure, Cam Archer's first feature, Wild Tigers I Have Known, is an impressive declaration of talent that nonetheless gets a little drunk and disorderly at the trough of High Art. Arresting visual and sonic textures frequently overwhelm sketchy narrative, leaving surface provocation too seldom ballasted by deeper psychological truths or emotional impact.
  7. The result is a superficially handsome crime thriller that doesn't tick, although it's got a pretty, jeweled face, and some clever scripting by William Monahan (scribe of "The Departed"), making his directorial debut here.
  8. This franchise-hungry champion of the underdog brings no sense of fun to his pursuit of bad guys; it's just the fate he's stuck with.
  9. Sprinkles in charming moments but ultimately doesn't evoke enough wonderment to overcome its tongue-twisting title and completely win over adults along with kids.
  10. An anonymously enjoyable espionage thriller that, for purposes of memory, all but self-destructs the second the closing credits begin to roll.
  11. The film lacks the accompanying media spotlight that boosted the Moore release and therefore appears unlikely to reach beyond a liberal audience with an already vehement aversion to Fox News' partisan coverage.
  12. Though Pieck is to be admired for the rigorousness in telling this chilling story (on what looks like a near zero budget), the film itself remains resolutely unlikable.
  13. 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.
  14. Strenuous and just fitfully amusing.
  15. 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.
  16. 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.
  17. 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.
  18. 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.”
  19. 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.
  20. 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.
  21. Film has major assets in Walter Carvalho's stunning landscapes and livewire young lead Hermila Guedes, but overall, it's too uninvolving.
  22. Has almost zero plot but molto mood. It will appeal to the most faithful of the director's camp-followers and no one else.
  23. 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.
  24. Plays closer to an after-school special (with HBO-standard dialogue) than a satisfying feature film.
  25. 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.
  26. Modestly engaging but thoroughly predictable.
  27. 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.
  28. 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.

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