Variety's Scores

For 10,099 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: 60
Highest review score: 100 My King
Lowest review score: 0 Cabin Boy
Score distribution:
10099 movie reviews
  1. Has a terrible fascination that glues viewers to the screen. At the same time, audience patience is tested.
  2. There’s a certain pleasure to be had in seeing a revered auteur go off the disreputable deep end, and there’s no denying A Touch of Sin packs a visceral wallop.
  3. The movie feels a little too sparse and literal in places.
  4. Brillante Mendoza’s latest opus that revels in shock value.
  5. 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.
  6. Think of Chico and Rita as a test, one that gauges whether your love of Cuban jazz can exceed your threshold for lousy animation -- a real "good tunes/bad toons" quandary.
  7. What keeps Ain’t in It for My Health from being a really satisfying portrait isn’t a lack of access, but a lack of intimacy.
  8. For Semans’ conceit of an obsessively narrow world to really work, he needed to have established an initially more expansive milieu.
    • 76 Metascore
    • 60 Critic Score
    An involving tale about the unlikely success of a smalltown Indiana high school basketball team that paradoxically proves both rousing and too conventional.
    • 76 Metascore
    • 60 Critic Score
    Rob Reiner directs with deftness and sincerity, making the material seem more engaging than it is, at least until the plot machanics begin to unwind and the film starts to seem shapeless.
  9. Admirably balanced production that pulls the curtain back slightly on a little-charted period of modern Chinese history.
  10. Guediguian's lengthy period yarn features a wide array of characters filmed with his habitual simpatico eye, but loses the dramatic thread in too many plots, too little action and not enough originality.
  11. We’ve heard the same lesson countless times before in other movies, and though it’s certainly impressive to see Conor’s anxieties manifest themselves in such a stunning Ent-like being, as monsters go, Bayona’s creation is all bark and no bite.
  12. Beautifully assembled, but emotionally inert despite its focus on bereavement and love's endurance, Russian art film Silent Souls reps at the very least a significant step up for its helmer, Aleksei Fedorchenko.
  13. An explosive performance by Johanna Wokalek gives some relief to an otherwise long and humdrum series of characters.
  14. Despite its large cast and complex criss-crossing from past to present, the movie rarely catches fire as an involving human drama.
  15. One of the most highly crafted pics in recent memory, and certainly the most original in vision of the 23 features competing at Cannes this year, Songs From the Second Floor rapidly wears out its welcome after the first few reels to finish up as a perplexing objet d'art.
  16. The conflict at the core of the WikiLeaks saga is dramatically lacking.
  17. Regular Lovers evokes the '60s pretty well just through dialogue and rhythm -- better, in fact, than Bernardo Bertolucci's more reverently detailed "The Dreamers." However, the film's slow tempo induces the feeling one is living through the whole of 1968 in one sitting.
  18. An appealing yet oddly insubstantial work, like an early impressionist sketch in need of a little more focus, and perhaps a more suitable frame.
  19. In aiming to steer his dark, fatalistic vision toward something genuinely contemplative and cathartic, Inarritu has managed to appropriate the beauty of Malick’s filmmaking but none of its sublimity — another word for which might be humility. There is plenty of amazement here, to be sure, but all too little in the way of grace.
  20. The audaciousness that marked Todd Haynes’ earlier work has been supplanted by self-important preachiness in Safe.
  21. Whit Stillman's stiff directorial approach ill suits the sensual ambiance of the club scene so intently depicted, and the mostly self-conscious, uptight characters seem to have made a left turn out of "Metropolitan" and walked through the wrong door to turn up in this flamboyant druggie scene.
    • 76 Metascore
    • 60 Critic Score
    Witness is at times a gentle, affecting story of star-crossed lovers limited within the fascinating Amish community. Too often, however, this fragile romance is crushed by a thoroughly absurd shoot-em-up, like ketchup poured over a delicate Pennsylvania Dutch dinner.
  22. Some genre fans who prefer the silly to the satiric may bite, but the anemic pic isn’t remotely weird or witty enough for cult immortality.
  23. Touches of apocalyptic comedy run throughout Nightcrawler, but the movie’s overriding tone is one of strident, finger-wagging self-seriousness.
  24. The film overstays its welcome by punctuating his story with ill-advised dramatic fantasy sequences that are meant to illustrate the anguish of a gay man in mid-century America, but come across as heavy-handed and mean-spirited.
  25. More of an action-light whodunit than a real thriller, and more of a CliffsNotes version than a deeply disturbing portrait of what's wrong with contempo Sweden.
  26. It’s a unique, associative blend of sounds and images that aims to convey details as well as underlying truths about Frank’s life. Unfortunately, it also often leaves one feeling aesthetically pummeled to the point of exhaustion.
    • 75 Metascore
    • 60 Critic Score
    Despite the heavy doses of gore in The Texas Chain Saw Massacre, Tobe Hooper's pic is well made for an exploiter of its type... Sharp sense of composition and careful accumulation of detail also help enliven the crude plot, and the acting is above par for this type of film.
    • Variety

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