Variety's Scores

For 9,169 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Crying Game
Lowest review score: 0 Divorce: The Musical
Score distribution:
9,169 movie reviews
  1. Pushes its dark, smart, clever, cynical, satirical, nasty, provocative and sarcastic instincts to the point of heavily diminished returns -- to the point where the very amusing premise just isn't funny anymore.
    • 61 Metascore
    • 50 Critic Score
    Considering that many will regard child boxing as inappropriate, at the very least, the documentary invites criticism by choosing not to include any voices of dissent or analysis of the sport within a broader social and cultural context.
  2. Though Hotel has brilliant moments, and an energetic first half, it falls away badly in the later stages.
  3. Formulaic gay comedy delivers its share of grins on the way to an (arguably) unexpected ending.
    • 78 Metascore
    • 50 Critic Score
    After a promising opening, Halloween becomes just another maniac-on-the-loose suspenser. However, despite the prosaic plot, director John Carpenter has timed the film's gore so that the 93-minute item is packed with enough thrills.
  4. A warm embrace of broadly but humanely sketched characters plus some scrappy casting of rising young stars led by an incandescent Kate Bosworth help overcome the half-realized comedic situations.
  5. Sweet if slight Israeli comedy.
  6. Creepy but uneven.
  7. Maps struggles to mix its various genres: Part showbiz sendup, part ghost story, part dysfunctional-family drama, the movie instead comes across as so much jaded mumbo-jumbo.
  8. The result may still be a big, bloated spectacle, but it's a big, bloated spectacle you can just about follow.
  9. Shady mood-piece profits greatly from enigmatic performance by Emmanuel Xeureb.
  10. This supposed comedy of manners about Americans in Paris feels artificial at every turn, its characters so devoid of backstory and nuance their behavior often makes little sense.
    • 68 Metascore
    • 50 Critic Score
    The material is more interesting than the film's rather dry mode of presentation, which is somewhat hampered by a dearth of archival footage.
  11. Directed by the pseudonymous Deagol Brothers, the film invests in spacey horror tropes one moment, plunges into absurdist adolescent angst the next and begs questions every step of the way, but just about holds together with its strong compositional sense, killer atmospheric lighting and wall-to-wall music track.
  12. The voice ensemble is game, if not especially well matched.
  13. Handsome, respectable and well cast, elaborate production lacks the excitement and magic that would elevate the film to beloved status, and sheer abundance of CGI work weighs on it too heavily.
  14. Zac Efron's squeaky-clean tweener-bait profile is unlikely to be threatened by 17 Again, an energetic but earthbound comic fantasy that borrows a few moves, if little inspiration, from "Big" and "It's a Wonderful Life."
  15. Neither Pena nor the pic itself delivers the necessary dynamism, strained by a modest budget and too few extras to sufficiently re-create a movement that found strength in numbers.
  16. Cage supplies beaucoup energy, but his highly compromised hustler cop character provides little else in which he can invest his talent. Sinise wears an increasingly grim demeanor in a part that comes to make no sense, and John Heard's role as a local power broker gets lost in the shuffle.
  17. Darts back and forth from being a psychological thriller to a vaguely metaphysical drama to a fate-driven romance -- it all becomes a blur.
  18. Skillfully made first feature by writer-director Katrin Gebbe has some undeniably striking passages and performances, but ultimately spirals toward a gruesome third act that is no less monotonous for supposedly being based on true events.
  19. The bittersweet Girlfriend features Down syndrome actor Evan Sneider in its starring role, and he gives one of the better performances in writer-director Justin Lerner's obviously well-intended and affectionately made first feature.
  20. Unfortunately, after a relatively promising warmup, pic actually proceeds to flatten out the characters in the latter sections and to make them less dimensional and interesting than they initially seemed.
  21. It will be up to viewers to decide whether God Help the Girl is ingratiatingly naive art, gratingly inept art, or a bit of both.
  22. For much of the running time, The Midnight Swim is effectively ambiguous, but Smith’s decision to play coy with the sisters’ backstories eventually frustrates.
  23. Adorable and annoying, patently unnecessary yet kinda sweet, it's a calculated commercial enterprise with little soul but an appreciable amount of heart.
  24. Intriguing but overly portentous drama, which seems far more taken with its own cynicism than most viewers will be.
  25. A noble cause does not a good movie make. Pic repeatedly drowns its impassioned message with music, creating an awkward hybrid between history lesson and concert documentary.
  26. Following on the coattails of “The Conjuring” and “Insidious,” Haunt is a classical haunted-house thriller with perhaps little that’s out of the ordinary for the genre, but occasionally inventive execution.
  27. Plays as a blackly comic slice of mock '70s-style exploitation that flirts with the viewer before applying its chokehold.

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