Variety's Scores

For 10,764 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Before Midnight
Lowest review score: 0 The One
Score distribution:
10764 movie reviews
  1. A neat idea that doesn't quite hit the bull's-eye.
  2. This is the kind of movie where a major development in a character’s personal life instantly telegraphs his ultimate fate in the trenches.
  3. Although amusing as often as not, the material remains more comedy-sketch fodder than a fully developed feature.
  4. There's little chance of grabbing teens (or even many tweens) during summertime playdates. Still, small fry will be enchanted by this rambunctious action-adventure.
  5. More irrelevant than irreverent, the unworthy script from “Bill and Ted’s Excellent Adventure’s” Chris Matheson might play to apocalyptically stoned college kids, but offers nothing in the way of broader social satire, suggesting the waste of a perfectly good Reckoning — not to mention the talents of a cast far funnier than the doom-and-gloom results suggest.
  6. The wild, unhinged life of Andy Warhol's favorite "superstar," Edie Sedgwick, is refashioned in Factory Girl as a tame biopic with little feel for the 1960s New York Underground.
  7. A trite and tangled potboiler that, despite its polemical pretensions, is just a glorified Korean domestic drama with classier couture and shapelier champagne flutes.
  8. An explosive performance by Johanna Wokalek gives some relief to an otherwise long and humdrum series of characters.
  9. A mildly pleasant, aggressively retro kidpic that should please undemanding moppets without unduly boring their parents.
  10. Laura Linney’s beautiful performance is most of the story in p.s.
    • 45 Metascore
    • 50 Critic Score
    Chris Columbus weighs in adequately in his directorial debut, thanks to a fresh, solid lead performance from Elisabeth Shue. Yet the film can never rise above the leaden script.
    • 66 Metascore
    • 50 Critic Score
    Allen's gift is in the depiction of a contemporary intellectual shlump who cannot seem to make it with the chicks always tantalizingly out of reach. That persona could well have served him once more as the focus for a good bit of caustic comedy on today's sexual mores.
    • Variety
  11. Some material in the docu feels repetitive or unnecessary. But the main problem is that “Citizen Koch” simply juggles too many themes and narratives to cohere. The result is largely compelling in the moment, but unsatisfying as a whole.
  12. The film frequently privileges art direction over emotion, and a constant sense of wonder based on visuals alone proves impossible to sustain over the lengthy 130-minute runtime.
  13. Whatever valid points are being explored are hopelessly clouded by the film's unwavering earnestness as it descends into silliness and excess.
  14. A strong cast struggles valiantly to rise above Lifetime material in In the Land of Women, an appealingly scruffy if overly programmatic drama.
  15. A respectable but watered-down heist movie that, given the Los Angeles setting, either owes a debt to director Michael Mann or suggests an unusually violent and action-packed episode of "Entourage."
  16. As it turns out, it's the first, not the last, word of the title that's key to this droll, elegant but faintly trying study in emotional artifice.
  17. "Pathfinder" meets "Gerry" in Severed Ways: The Norse Discovery of America, a striking and virtually wordless story of two Vikings separated from their tribe and left to stumble through the North American wilderness.
  18. Adam Rodgers’ debut feature is a painless enough diversion, but novel ideas and humor beyond mild chuckles are in scant supply.
  19. The picture serves up intermittent pleasures but is too raggedy and laid-back for its own good, its images evaporating nearly as soon as they hit the screen.
  20. Shows both how far Hollywood's tech departments have advanced in 40 years and how shallow the pool of solid action thesps has become.
  21. Cub
    Jonas Govaerts’ first feature is a pastiche of familiar horror elements that’s well crafted throughout, but falls prey to the common dilemma of finding a payoff worthy of the buildup.
  22. Interesting structure provides pic with plenty of opportunities for social satire, human comedy and chance encounters, but few setups are ever dramatically fulfilled.
  23. A family melodrama that becomes less authentic as it progressively takes itself more seriously.
  24. Pic offers standard mix of digitally shot interview material with the elusive main subject himself, with archive footage and talking heads to assess Berlin's impact on gay culture.
    • 36 Metascore
    • 50 Critic Score
    Audiences get an eyeful of flesh, served with sadistic, spasmodic laughs.
  25. From Doremus’ side of things, it can’t be easy to depict something as subtle as “intermittent feeling” or “increased sensitivity,” though the helmer does a fine job of laying the groundwork for the attraction blooming between Silas and Nia — boosted by the resonant collection of electronic tones and chimes that constitute Equals’ futuristic score.
  26. The meticulously crafted world is stunning to behold, imagined to the minutest detail and photographed with the sort of dramatic lighting and dynamic camera movement rarely seen in stop-motion. Trouble is, it’s not a place most folks would care to spend any time.
  27. Original in every sense.

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