Variety's Scores

For 8,647 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 Taxi
Lowest review score: 0 Rollerball
Score distribution:
8,647 movie reviews
  1. Will interest Rivette admirers at fests and in the niche arena but will do nothing to broaden his appeal.
  2. An undeniably powerful record of the Palestinian village of Bil'in's course of civil disobedience from 2005 to the present...the pic is also shamelessly sentimental and manipulative in its construction.
  3. Step Up Revolution, the fourth entry in the venerable dance franchise, is a narrative failure but a triumph of sheer spectacle.
  4. Its screaming-queen stereotypes will look pretty retro in most Western markets, even if an earnest pro-tolerance message disarms potential offense.
  5. A superficial look at the '50s sex icon, picture feels like it was researched via press clippings rather than attempting a fresh rethinking of its era and provocative subject.
  6. Veering crazily in tone, Inside Out might fail to catapult its star into wider acceptability, but should delight fans of lightly absurd actioners.
  7. Though it boasts slightly more narrative structure than his other work, Jaglom's script still serves as a catalyst for wild improvisation, suggesting the inside-jokey result was more fun to make than to watch.
  8. Valiant attempt to innovate in the well-trod realm of Boy Meets Girl doesn't quite coalesce despite a thoughtful and distinctive visual approach.
  9. Limp comedy-drama.
  10. There are potentially funny ideas, but the barely-there script, performances and direction go for a deadpan tenor that's not supported by much actual wit.
  11. 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.
  12. Intermittently stirring and undeniably well made as it slowly unspools a multi-pronged drama set during the 1999 outbreak of the Second Chechen War, the picture has run-of-the-mill pacing and storytelling lapses that are compounded by its ultimately hectoring, didactic approach.
  13. Despite engaging performances from a cast led by Matthew Rhys and Kate Ashfield and pro direction by first-timer Richard Janes, yarn about art grifters lacks real snap, which ultimately stems from the so-so script and lack of real coin.
  14. Hellbenders becomes what it intends to burlesque, and that’s not so damn funny, even with 3D gimmickry.
  15. The didactic presentation, grim speechifying and tacked-on love story all signify a less-than-healthy regard for the audience's intelligence.
  16. Likeable, credible actors, snappy dialogue and a determinedly upbeat tone should work well on cable and score with Indian diaspora auds. But pic lacks density and spontaneity necessary to lift it out of its carefully posed and plotted set-ups and onto a bigscreen.
  17. After a long, glum slide, pic becomes an unconvincing story of redemption.
  18. Judd now is top-billed, but her performance is so resolutely humorless and businesslike that Freeman's gruffly affectionate warmth becomes doubly valuable, though not nearly enough to lend this generic project any special character.
  19. 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.
  20. This represents at least as much of an artistic setback for Smith as "Chasing Amy" and "Dogma" were advances.
  21. Mistaking over-the-top dysfunctional family cruelty for comedy and drama, Another Happy Day tries and fails to channel "Rachel Getting Married" in its protracted tale of a wedding-party weekend that turns predictably from scabrous to redemptive.
  22. The picture all too obviously recycles bits and pieces from "Madagascar," "The Lion King" and other made-in-America toons. Unfortunately, much gets lost in the translation.
  23. Even the Brit-wit chemistry of Russell Brand and Helen Mirren can't offset the self-conscious degree to which this tame, calculated effort sticks to its source.
  24. Never quite realizes its potential to evoke the real horror of the Internet -- Yet, Malone has given the film a distinctive atmosphere and occasional flashes of his perverse sense of humor.
  25. A strenuously solemn film that wants to create some kind of American pastoral tragedy out of the nation's current angst with the war.
  26. This off-putting pic requires open minds and iron nerves.
  27. Throats are ripped, heads are crushed and limbs are severed with brutal efficiency throughout See No Evil, but that's not nearly enough to dispel the sense of deja vu that pervades this generic slasher thriller.
  28. A coming-of-age piece that is slight to the point of anemia, Unstrung Heroes sports a willful eccentricity that almost immediately becomes annoying.
    • 45 Metascore
    • 40 Critic Score
    Enjoyable in an undemanding way, and with a few interesting flourishes.
    • 62 Metascore
    • 40 Critic Score
    Director Ted Kotcheff has all sorts of trouble with this mess, aside from credibility. Supposedly, the real villain here is society itself, which invented a debacle like Vietnam and must now deal with its lingering tragedies. But First Blood cops out completely on that one, not even trying to find a solution to Stallone's problems.

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