Variety's Scores

For 9,096 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Last Waltz (re-release)
Lowest review score: 0 Wash Dry and Spin Out
Score distribution:
9,096 movie reviews
  1. An unsettling piece of filmmaking whose grimly vivid images are guaranteed to give impressionable viewers nightmares.
  2. Without the pleasure of watching Cate Blanchett continue the role that launched her to stardom, there would be little to recommend this latest of many cinematic and television accounts of the celebrated monarch's life.
  3. Conventional where it should be bold and mild where it should be wild, 10,000 BC reps a missed opportunity to present an imaginative vision of a prehistoric moment.
  4. Its compassion and careful sidestepping of exploitation tropes can’t make up for a fundamental lack of depth and urgency in the storytelling.
  5. Partly produced by Lifetime, the pic attempts to elevate the disease-of-the-week movie into a moral dialectic between conformity and imagination.
  6. In the end, Silent Hill degenerates into an overblown replay of all those "Twilight Zone" and Stephen King stories in which outsiders stumble upon a time-warped location from which there's no escape.
  7. While the result is yet another story of African suffering told from a white do-gooder's perspective, this particular do-gooder is intrinsically fascinating enough to warrant attention, albeit more nuanced attention than he receives here.
  8. Are We There Yet? traps the affable Ice Cube in a dismal kiddy slapstick saga that even his considerable charisma can do little to enhance.
  9. Audiences won't show much clemency toward Death & Texas, an uneasy (and very unfunny) marriage of sports culture satire and death penalty polemic.
  10. Bratz’s references and parodies are consistently on-target, if always way too over-the-top. Every line of dialogue could plausibly take an exclamation point.
  11. A romantic-comedy-cum-serial-killer-movie that bends genre to the point of snapping.
  12. The French are smelly, vulgar, racist and oversexed, or so it would seem based on 2 Days in New York, a scattershot culture-clash comedy that goes down like yesterday's foie gras.
  13. This sloppily constructed horror-thriller lacks the satirical bite and action chops to skewer extreme-right-wing zealots with the gusto Smith clearly feels they deserve, instead evincing the verbal incontinence and slack tension that have long dogged the writer-director's work.
    • 58 Metascore
    • 40 Critic Score
    Most of the jokes that might have seemed jolly fun on stage now appear obvious and even flat. The sparkle's gone.
  14. While the Wachowskis have always put their greatest emphasis on aesthetics, they allow the visual impulse to get the best of them here, investing so much attention in creating unique fashions, technology, architecture and design that they’ve blinded themselves to the huge logical gaps in their own story.
  15. While mostly swerving past the pitfall of tastelessness, this sincerely intended account of the last two years of Princess Diana’s life risks an even more perilous roadblock: dullness.
  16. So beneath the considerable talents of its star, Chris Rock, it's dismaying to note Rock is also the movie's director, producer and co-scenarist. Not unlike Richard Pryor a generation ago, Rock has yet to land a movie vehicle that captures the sparky energy and subversive bent of his excellent stand-up performances.
    • 36 Metascore
    • 40 Critic Score
    Enjoyably slim family entertainment.
  17. Napoleon Dynamite seems perfectly well-adjusted (not to mention downright charismatic) compared to homeschooled mama's boy Benjamin Purvis in Gentlemen Broncos, the latest oddball character portrait from one-trick helmer Jared Hess.
  18. The lure of Halle Berry as the leather-clad feline should help this mangy misfire claw out a decent opening before a quick slink to DVD.
  19. The film has a very good idea in using a single soldier’s perspective to explore how tension and boredom can lead to such extreme misconduct, but it doesn’t go far enough, in the end leaving a disgraceful chapter just dimly illuminated in psychological terms.
  20. For the most part, Hyams’ lackluster direction and the repetitive quality of the action sequences squander an intriguing premise and impressive production design, leaving few moments that elicit the sort of “Wow!” response such fare needs in order to prosper.
  21. Although there are moments when it feels the plot might move in unexpected directions, in the end, the expected cliches reign.
  22. That original was split between charms and minuses, suffering primarily from careless scripting. Here, those faults are indulged wholesale, with so little attention paid to overall narrative development or individual scene-shaping that the bloated pic often suggests a crowd-funded venture existing solely to pay back (and showcase) the crowd.
    • 34 Metascore
    • 40 Critic Score
    Feels like warmed-over souvlaki.
  23. An ideal rainy day matinee attraction for well-to-do ladies of a certain age.
  24. None of the characters is given much depth or meaningful backgrounding, leaving the capable thesps with plenty of anguish and emotion to play but not much else.
  25. An obviously sincere but didactically repetitive documentary.
    • 39 Metascore
    • 40 Critic Score
    In an effort to be more 'realistic' Annie winds up exposing just how weak a story it had to start with [stage play book by Thomas Meehan], not helped here by the music [songs by Charles Strouse and Martin Charnin].
  26. A plodding mediocrity with an almost mercenary adherence to formula.

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