Variety's Scores

For 8,342 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 Skyfall
Lowest review score: 0 Divorce: The Musical
Score distribution:
8,342 movie reviews
  1. The film's sputtering dramatic engine, underwhelming perfs, and absence of music by the Stones themselves may leave the key younger demographic wondering what all the fuss is about.
  2. 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.
  3. Entirely comfortable as the crude character he has honed in countless stand-up routines and TV appearances, Larry the Cable Guy sustains a level of likeability that enables him to get away with a lot more than he has any right to. But, he remains very much an acquired taste.
  4. Under Dennis Dugan's rote direction, Schneider winds up playing straight man to Spade, who once again relies on his snarky coward shtick, and Heder, who comes across like someone doing a bad imitation of ... well, Heder himself in "Napoleon Dynamite."
  5. Mo'Nique, a vet standup and sitcom performer whose sassy, brassy shtick isn't nearly enough to support material this insubstantial.
  6. Scary Movie 4 finds horror parody overshadowed by ho-hum groin blows, C-list celebrity cameos, slapstick child abuse, soon-to-be-forgotten hip-hop personalities, plus scatalogical and gay jokes; real laughs are few.
  7. Uninspired character animation and obnoxious banter aside, The Wild is ultimately done in by the persistent stench of been-there-seen-that.
  8. Combining a gallery of targets including President Bush, "American Idol," the Iraq War and the overarching theme of a nation of citizens held in the thrall of phony dreams, pic and its ambitions are undermined by insistent cartoonishness and comic ineptitude.
  9. In the end, Silent Hill degenerates into an overblown replay of all those "Twilight Zone" and Stephen King stories in which outsiders stumble upon a time-warped location from which there's no escape.
  10. Abominable goes completely over the top into an Ed Wood-meets-"Rear Window" subspecies of giddy, gory amateurish abandon.
  11. Soapy melodrama and a small-screen cast undermine the first-time director's efforts.
  12. Even a magnificently inspired Maria Bello proves insufficiently daring to save Richard Alfieri and Arthur Allan Seidelman's Chekhov-based chamber piece Sisters from pretentious psychodrama.
  13. With Mariel Hemingway a credible Sapphic Stallone, this passable action trash should satisfy as fun original programming for gay-targeted Here! cable net.
  14. A by-the-numbers ensemble dramedy that hits every underdog and gay-fish-out-of-water cliche on the nose.
  15. 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.
  16. Film plays as a quirky Brit riff on everything from U.S. slasher pics to revenge oaters but without Meadows' usual psychological complexity.
  17. The title alone should alert auds that The Big Buy: Tom DeLay's Stolen Congress is a hatchet job on the controversial politico known as "The Hammer."
  18. Justin Lo is -- in descending order of competence -- producer, director, editor, writer and star of debut feature The Conrad Boys. He should've hired a better actor for the lead, but then this low-budget indie would lack its vanity project raison d'etre.
  19. Adam Sandler's recent low-key phase continues with this cleverly conceived but conspicuously unfunny comedy.
  20. The politics of homophobia and child molestation receive a badly misjudged tweaking in Peter Paige's writing-directing debut, Say Uncle.
  21. A ponderous, self-indulgent bedtime tale. Awkwardly positioned, this gloomy gothic fantasy falls well short of horror.
  22. Any provocative questions LaBute might have wanted to raise are totally obscured as the rising tide of absurdity gradually overwhelms the entire enterprise.
  23. Seems so determined to reproduce the drudgery of police work, it's boring for the first hour, and only marginally more exciting for the second.
  24. It's obviously intended as a star vehicle, but Broken Bridges turns out to be a rattletrap jalopy for country music performer Toby Keith.
  25. A seesaw chronology and generally chaotic approach plagues Haven, an overly ambitious, multicharacter love story-cum-underworld revenge drama set on a fleetingly exotic island.
  26. Overstuffed and fatally miscast, All the King's Men never comes to life.
  27. This stunningly shameless follow-up to the 2002 theatrical sleeper (and homdevid mega-seller) offers more of the same -- a lot more -- while repeatedly upping the ante in terms of offensiveness. Which, of course, should greatly -- and profitably -- please is target aud.
  28. If all that Ian Inaba's latest Guerilla News Network missive, American Blackout, wants to do is get left Democrats worked up into a lather of righteous anger at crafty Republicans, it does so at the expense of speaking to any other group of Americans. As such, docu is extremely limited and almost without purpose except as an organizing tool for party foot soldiers.
    • 64 Metascore
    • 40 Critic Score
    The third feature from this Indian-born writer-director... is an underwhelming effort that adds little new to the debate over arranged marriages and fails to ignite much interest in the problems faced by two frustrated New Delhi wives.
  29. Unfortunately, almost everything about the film is so unbelievable and misjudged that only the most gullible audiences will feel any transporting thrill at the end other than from the movie finally being over.

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