Variety's Scores

For 9,929 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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: 60
Highest review score: 100 A War
Lowest review score: 0 God's Not Dead 2
Score distribution:
9929 movie reviews
  1. Ravishingly lensed, widescreen pic's purely cinematic qualities slightly outstrip its narrative ones as central protag, as a result of the apparent suicide, slowly -- very slowly -- questions whether the aspects of her own marriage she thought were cast in stone may be made of less sturdy material.
  2. It’s a chirpy heart-on-sleeve confection that’s populist in a somewhat generic way.
  3. A slick but forgettable, characterless thriller.
  4. There's not quite as much corn in The Final Season as there is in the Iowa farm fields that run through it, but it's close.
  5. Adds relatively little insight to the public understanding of wayward military behavior more incisively analyzed in "Taxi to the Dark Side."
  6. Whether this is a good or bad thing depends on just how much 14-year-old boy you've got in ya.
  7. The temptation of artists to fiddle with their earlier works brings predictably mixed results in Ashes of Time: Redux.
  8. Another lumpy mix of broadly played ethnic comedy, deadly serious soap operatics, and aggressively rousing religious uplift. Picture may help him reconnect with faithful fans.
  9. Certainly the director’s heart is in the right place here; it’s in moving her pawns around that flummoxes her.
  10. Watching Limelight, about the rise and politically engineered fall of onetime Manhattan nightclub kingpin Peter Gatien, is like looking through a family album: If you're in the family, you might be interested.
  11. Obsession, compulsion and fear are all part of The Kids Grow Up, which is occasionally a less-than-pleasant reminder of the goofy way we can act even while we think we're being sane.
  12. Inoffensive but mostly undistinguished "Ancient Aliens"-type concoction.
  13. [Portman's] drearily empathetic film lacks whatever universality has made “Tale” such an international phenomenon.
  14. In actuality, however, what unfolds onscreen is a simplistic and obvious expose about the manipulative power of the news media that by now is so familiar that its cynical perspective is not likely to upset or provoke anyone.
  15. This spectacular orchestration of visual elements seems wasted on a threadbare, inanely repetitive plotline.
  16. Rambling road-trip comedy Slow Jam King offers agreeable shenanigans as three mismatched characters find themselves stuck together on a long drive from New York City to Nashville.
  17. The ensemble’s crack comic timing can only go so far to compensate for uneven scripting.
  18. Ferrara finds himself imitating rather than innovating.
  19. Movie picks up momentum midway through, when Cyrus is joined by the three Jonas Brothers, who know exactly how to play the crowd and the cameras. As 3-D goes, watching them criss-cross in space proves more engaging than observing one strutting performer.
  20. A modestly inventive, sporadically exciting thriller that nonetheless proves too faithful to its central conceit for its own good.
  21. Kaneshiro is all long flowing locks and smoldering disdain, the visual F/X are only so-so, and pacing is almost brisk enough to hide the plot holes.
  22. Attractively designed, energetically performed and, above all, blessedly concise, this adaptation of one of the most popular American kids' books of all time walks the safe side of surrealism with its fur-flying shenanigans. The younger the viewers, the better reactions are bound to be.
  23. Wise is plenty eloquent on the complex legal issue, but remains vague about how the status he seeks will practically impact animals (could animal weddings be far behind?) or why he’s the “person” best qualified to represent them in court.
  24. Charlie Kaufman's clever screenplay bears many traces of the same brand of originality and eccentric imagination that graced his work on "Being John Malkovich," although even at an hour-and-a-half the conceit is stretched almost too thin for audience sustenance.
  25. Ted
    A predictably irreverent satire that's sweeter and, sadly, less funny than you might expect.
  26. The life-and-death stakes are there, but the people involved — while uniformly ravishing to gaze upon — are too wanly sketched for this melodrama to pump much blood.
  27. An example of spare, slice-of-life indie cinema at its most unpretentious, Man Push Cart adeptly and subtly layers facts about the protag's history and character into his story.
  28. Gets into trouble when it reaches for laughs.
  29. LUV
    Heartfelt and formulaic in equal measure.
  30. A smattering of funny gags and the nostalgia value of the cast — none of whom, curiously, have ever shared the screen before — keeps the whole thing more watchable than it has any right to be.

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