Variety's Scores

For 9,087 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 Winter Sleep
Lowest review score: 0 Movie 43
Score distribution:
9,087 movie reviews
  1. Consistently fascinating and suspenseful.
  2. Conventionally constructed but remarkable for the honest, intimate rapport it achieves with highly vulnerable human subjects.
  3. Delivers continuous pinpricks of irreverent humor and subversive cultural commentary.
    • Variety
    • 86 Metascore
    • 60 Critic Score
    A half-baked love story, full of good intentions but uneven in the telling.
    • 86 Metascore
    • 80 Critic Score
    Lynch has directed his most satisfyingly disciplined movie.
  4. Wickedly funny.
  5. Staying at the top of his game when most of his contemporaries have long since hung up their gloves, Clint Eastwood delivers another knockout punch with Million Dollar Baby.
  6. A brave, challenging picture that makes the viewer complicit in the action, it is also perhaps the first film since the declaration of the Islamic Republic to confront so directly the brutality of the feared security apparatus.
  7. This meticulously designed and directed debut feature from writer-director Jennifer Kent (expanded from her award-winning short, “Monster”) manages to deliver real, seat-grabbing jolts while also touching on more serious themes of loss, grief and other demons that can not be so easily vanquished.
  8. The docu’s accomplished summary of tension-filled events as they transpired from minute to minute comes at the expense of wide-angle historical context.
  9. Sparked by wonderfully lived-in performances from Julianne Moore and Mark Ruffalo, The Kids Are All Right is alright, if not up to the level of writer-director Lisa Cholodenko's earlier pair of new bohemian dramas, "High Art" and "Laurel Canyon."
  10. The poignant and candid Boys Don't Cry can be seen as a "Rebel Without a Cause" for these culturally diverse and complex times, with the two misfit girls enacting a version of the James Dean/Natalie Wood romance with utmost conviction.
    • 86 Metascore
    • 80 Critic Score
    Cronenberg handles his usual fondness for gore in muted style.
  11. For all its manipulations and self-imposed restrictions, Manakamana is expansive, intricate and surprisingly playful.
  12. Filtering the world's oldest paintings through the latest in cinematic technology, Werner Herzog delivers a one-of-a-kind art-history lesson in Cave of Forgotten Dreams.
  13. King of the Hill has all the rich satisfactions of a fine novel.
    • 86 Metascore
    • 90 Critic Score
    Fonda himself has given this a fine production dress, with associate Bert Schneider, and the brilliant lensing, excellent music background ballads, especially Bob Dylan's "Easy Rider," are fine counterpoints to this poetic trip along Southwest America.
  14. A concise overview's clarity and an epic narrative shape, with a happy ending to boot.
  15. Neon Bull keeps a cinematic distance at nearly all times, seldom moving in for closeups and allowing most scenes to play out in a single shot. Whether his subjects are shoveling manure or showering down afterward, Mascaro prefers to celebrate these figures in their physical entirety.
  16. Elusive and elliptical as it is, this is one of the most accessible films in Oliveira's recent repetoire.
  17. Beautifully acted by a diverse ensemble, this Good Machine production is carefully crafted and deliberately paced.
  18. Ten
    10 dazzling and perceptive snapshots of women with which femmes everywhere can identify.
    • 86 Metascore
    • 100 Critic Score
    An outstanding picture.
  19. A story of love and subterfuge in 1980 East Germany that never quite accelerates into an outright thriller, Barbara reps another assured collaboration between director Christian Petzold and his main muse, actress Nina Hoss.
    • 86 Metascore
    • 70 Critic Score
    As the film patiently (perhaps too much so for some) heads toward its foregone conclusion, Beauvois gradually raises his style to a level of baroqueness reminiscent of 1995's "Don't Forget You're Going to Die."
  20. Sorrentino continues to tackle major topics using an extraordinary combination of broad brushstrokes and minute detail. Passion via the intellect has become his trademark, well suited to this dissection of empty diversions, indulged in by latter-day Neros fiddling while Rome burns.
    • 86 Metascore
    • 70 Critic Score
    Oddball mix that may strike some as overly whimsical but should delight the filmmaker's many fans.
    • 86 Metascore
    • 60 Critic Score
    A descent into the pit of hell with slim odds of ever returning.
  21. So harsh and damning is the pic toward the current Catholic leadership -- personified by Los Angeles-based Cardinal Roger Mahony, who oversaw O'Grady's stewardship at various central California parishes in the 1970s and '80s, that charges the church operates "like the Mafia" sound spot-on.
    • 86 Metascore
    • 90 Critic Score
    Performances by the earnest Fox, the lunatic Lloyd, the deceptively passionate Lea Thompson, and, particularly, the bumbling-to-confident Glover, who runs away with the picture, merrily keep the ship sailing.

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