Variety's Scores

For 10,770 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 Dunkirk
Lowest review score: 0 Cabin Boy
Score distribution:
10770 movie reviews
    • 84 Metascore
    • 30 Critic Score
    The burning topic of Muslim (mis)representation in U.S. media is not well served by Michael Singh’s amateurish and ill-defined docu Valentino’s Ghost.
    • 77 Metascore
    • 30 Critic Score
    The clumsy story lurches forward through predictable travail and treacle, separated by phonograph records (or vice versa).
  1. Advocacy to the point of propaganda.
  2. Simply fuzzy filmmaking of the worst sort.
  3. Audience patience undergoes a far more brutal butchering than anything onscreen in Delphine Gleize's wildly over-reaching feature debut, Carnage.
  4. This aimless, lifeless time-killer about four teenage girls prepping for their rock-band gig in a school talent show proves entirely the wrong choice.
    • 71 Metascore
    • 30 Critic Score
    Dawn pummels the viewer with a series of ever-more-grisly events - decapitations, shootings, knifings, flesh tearings - that make Romero's special effects man, Tom Savini, the real 'star' of the film - the actors are as woodenly uninteresting as the characters they play. Romero's script is banal when not incoherent - those who haven't seen Night of the Living Dead may have some difficulty deciphering exactly what's going on at the outset of Dawn.
  5. Doubly disappointing considering that it marks the first feature by Rwandan filmmakers to address the country's 1994 Hutu-on-Tutsi genocide, Kinyarwanda awkwardly and fitfully patches together a half-dozen story strands meant to provide a panoramic view of war and reconciliation.
  6. Her (Wauer) attempt to relieve uncomfortable events with happy stories makes for a disturbing superficiality, and a "make your own Jewish grave" student project is plain offensive. Score is omnipresent and insufferable.
  7. A feel-bad film through and through. Chronicling a year in the life of a low-income Mohawk Valley family beset by external hardships and shockingly bad decision-making, the docu straddles the line between unflinching intimacy and invasive exploitation.
  8. This sloppy, button-pushing black comedy reveals a crew desperately in need of counseling — less in anger management than in the fundamentals of screenwriting, camerawork and structure.
  9. Sure to turn off general viewers due to its emotional inaccessibility, multitude of narrative problems and preoccupation with a torture Web site.
  10. Irritatingly devoid of irony, the film has an unintentional but unmistakable homoerotic subtext.
    • 64 Metascore
    • 30 Critic Score
    Tom Clancy was right the first time. Paramount's Patriot Games is an expensive stiff. Mindless, morally repugnant and ineptly directed to boot, it's a shoddy followup to Par's 1990 hit "The Hunt for Red October."
  11. Bad dialogue and bad acting might convince some of the authenticity behind Bad Posture, but there's no getting around the tedious navel-gazing of Malcolm Murray's fiction debut.
  12. Third outing for prairie auteur Gary Burns is his most ambitious, and most uneven, effort yet.
  13. Has the unmistakable look and feel of a micro-budget indie produced for a small circle of friends, many of whom are listed in the credits.
    • 63 Metascore
    • 10 Critic Score
    The Lost Boys is a horrifically dreadful vampire teensploitation entry that daringly advances the theory that all those missing children pictured on garbage bags and milk cartons are actually the victims of bloodsucking bikers.
    • 62 Metascore
    • 30 Critic Score
    There's not much kick in this cocktail, despite its mix of quality ingredients. Casually glamorous South Bay is the setting for a story of little substance as writer-director Robert Towne attempts a study of friendship and trust but gets lost in a clutter of drug dealings and police operations.
  14. A disappointingly rote entry in the '70s teen nostalgia sweepstakes.
    • 62 Metascore
    • 30 Critic Score
    Jacob's Ladder means to be a harrowing thriller about a Vietnam vet (Tim Robbins) bedeviled by strange visions, but the $40 million production is dull, unimaginative and pretentious.
    • 62 Metascore
    • 30 Critic Score
    Does director John Hughes really believe, as he writes here, that 'when you grow up, your heart dies.' It may. But not unless the brain has already started to rot with films like this.
  15. The submarine goes deep but the story never does in U-571, a good old-fashioned WWII picture that is exciting in only the most superficial way.
  16. A 2½-hour demo of auteurist self-importance that's artistically bankrupt on almost every level.
  17. Debuting writer-directors Larry and Andy Wachowski come off like Coen brothers wannabes with no sense of humor.
  18. Strictly for the birds.
  19. A tedious slog alleviated only by widescreen shots of the Portuguese capital and terrific fado singing.
  20. Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama.
    • 61 Metascore
    • 30 Critic Score
    Jim Abrahams tries to tap the zany Airplane! vein with this Top Gun spoof but bats far too low a percentage with the usual rapid-fire assault of numbingly stupid gags.
  21. The dramatic trajectory is frightfully obvious, the characters tediously one-dimensional, the dialogue banal.

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