Variety's Scores

For 8,364 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Big Men
Lowest review score: 0 Wash Dry and Spin Out
Score distribution:
8,364 movie reviews
  1. Fails to get off the ground due to a by-numbers script and dodo-ugly character design.
  2. Dramatically pallid and unconvincing. Despite being written for her, the director's "Irma Vep" muse Maggie Cheung seems oddly miscast here and is ill-served by an emotionally underpowered screenplay that rarely gets beneath the surface of the character's problems.
  3. Refreshing strokes of science-fact in the early sections give way to action strictly from the Ridley Scott-James Cameron playbook, but without a powerful helmer behind the camera or a memorable cast in front.
  4. As a cautionary drama on the price of fame, Undiscovered could not tread on more exhaustively discovered territory, and the result is a reel-by-reel trail of cliches.
  5. Despite Almereyda's strong following in arthouse circles, William Eggleston in the Real World --which requires patient if not repeat viewing -- will probably not venture far into it.
  6. Inspiration is running thin in comedian Margaret Cho's fourth concert film, a routine stand-up set that compares poorly to her oft-hilarious first two.
  7. A classic case of overreaching, Steal Me boasts unorthodox camera angles, dramatic shifts in its palette and a generally adventurous visual style. What it lacks is believable dialogue, credible relationships and a serious foundation for its overripe psychology.
  8. Pic's quirky-for-quirky's-sake antics are neither particularly coherent nor enjoyably incoherent.
  9. A string of scenes in search of a movie.
  10. Not a thriller so much as an extremely violent swimsuit calendar, the lushly lensed but dramatically waterlogged Into the Blue is too infatuated with its scantily clad stars to make sense of all the drug dealers, boat looters and bloodthirsty sharks trying to hunt them down.
  11. Conspicuously underwhelming.
    • 56 Metascore
    • 40 Critic Score
    Item may draw curious women looking to cool their heels, say, while out shopping, but straight men can be expected to stay away in droves and Jaglom regulars will probably wait for the DVD.
  12. Emerges as an overproduced novelty pic that looks and feels more like a company promo reel than an engaging piece of storytelling.
  13. An honorable but failed attempt to dramatize the dynamics that propel a basically good man to become a suicide bomber, The War Within contains provocative points inside a dull package.
  14. Brimming with fanciful ideas about life, romance and the rejuvenating power of music, Sueno sings a lovely tune but chokes on its own banal lyrics.
  15. The wait for laughs lasts the entire length of Waiting ..., first feature from writer-director Rob McKittrick that aims to be a "Clerks"-type comedy set in a chain restaurant but ends up somewhere below a "Porky's" sequel.
  16. Comes off as lame and unfocused as its draggy dramatis personae.
  17. Satisfying neither as character study nor as straight-ahead actioner.
  18. Unfortunately, interest lags between the grisly deaths, and, worse, none of the characters generates rooting interest.
  19. An ultra-arty "The Sixth Sense" that deliberately inhibits comprehension of the story until the very end -- and arguably continues to inhibit it even then -- pic features certifiably talented people on both sides of the camera collaborating on a project that probably shouldn't have been undertaken in the first place.
  20. Josh Stolberg launches a scalding attack on the stodgy conservatism of the American public school system, only to end up stacking the deck in egregiously smirky and simple-minded ways.
  21. Instead, director Jon Turteltaub has taken the easiest road, emerging with a soppy, soft-headed disease-of-the-week-style piece that sentimentalizes or opts out of every interesting issue the script raises.
  22. But Foster is unable to give the episodic, fragmented film a coherent feel; her prosaic, sometimes irritating picture proceeds scene by scene, with the requisite climaxes and anticlimaxes along the bumpy road.
  23. Much of the film plays awkwardly, its tone veering undecidedly between volatile drama and contemplative psychological study.
  24. Whatever John Patrick Shanley's script may have tried to do in adapting Crichton's book, it clearly feels as if the picture were edited to leave the action sequences in while removing any connecting material that might have helped them make sense.
  25. This murky psychological suspenser manages the tricky feat of being as predictable as it is finally preposterous.
  26. Without Watts, Scott Coffey's feature-length expansion of his identically titled short wouldn't amount to much.
  27. Result is a loose personal piece of reportage that places people over ideas and larger issues, and reveals the pic's severe limitations long before a surprisingly upbeat ending.
  28. The future looks alternately grim and hysterical in Aeon Flux, a spectacularly silly sci-fier that plays like "The Matrix" crossed with "The Island" and reinterpreted as a long-lost Michael Jackson video.
  29. Pic displays filmmakers Kevin Harrison's and Kemp Curley's love of snowboarding, but suffers from an unjustifiably long running time, considerable repetition and a generally awkward structure.

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