Variety's Scores

For 9,166 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 At Berkeley
Lowest review score: 0 Divorce: The Musical
Score distribution:
9,166 movie reviews
  1. Absent the infectious live-audience energy of Chris D'Arienzo's legit hit, this affectionate glam-rock-a-thon reps a visually bland staging of frankly insipid material, never tapping into the raucous, go-for-broke energy that would spin the show's cliches into gold, let alone platinum.
  2. Despite a soulful leading performance from Max Minghella, pic feels insubstantial, echoing without equaling both the coolly ironic edge and heart of "Ghost World" and the incisive art-world outsider portrait of the director's docu feature, "Crumb."
  3. The lovingly crafted documentary Why We Ride ultimately chokes on the fumes of bombastic self-seriousness.
  4. Alternately seduced and repelled by its subject, the garish and power-hungry Harlem gangster and '70s cocaine kingpin Nicky Barnes, Mr. Untouchable is one seriously confused documentary.
  5. This cloddishly contrived suspenser is too busy to bore, but too farfetched to thrill, combining routine heist-thriller machinations with dialogue that often thuds like a body hitting asphalt.
  6. Picture generally stays afloat on the strength of its characters but sometimes threatens to sink under its overlong running time and vignettish structure.
  7. A curious tale about a man searching for his missing dog in a suburban bubble where everything is a little askew, has some laughs, but it doesn’t take long for the absurdist humor to pall among a pileup of nonsensical ideas that would be funnier if grounded in a less hazy concept.
  8. Most impressive in an objective sense, as a technical exercise -- its staccato technique preventing greater involvement.
  9. Brit helmer Malcolm Mowbray's film assumes the constrictions of a stagebound farce, taking place on a single set in real time, and swept along in magisterially broad strokes by Jeffrey Tambor's playfully theatrical perf.
  10. Lovely to look at but a headache to listen to.
  11. Tale of an idealistic local caught in the crossfire of an illicit affair is too pat and pretty to connect with upscale audiences.
  12. Wide-ranging educational documentary attaches itself to the rise and fall of a 12-year-old fashion model, and indeed, its sincere, cautionary tone seems best suited to younger auds and small screen exposure.
  13. Schematically scripted tale revels in its multiple story arcs, but shows signs of battle fatigue in the later reels.
  14. A sometimes funny, occasionally maudlin coming-of-age dramedy that wants to be "Goodfellas" but might have been called "Mild in the Streets."
  15. In its animated work, DreamWorks has repeatedly flip-flopped between the hip and the square. This time out, it's as if the company tried to apply a hip approach to a square subject, with unresolved results.
  16. A lightweight, warp-speed, brightly colored trifle.
  17. Lame and inoffensive.
  18. Chalk suffers overall from a lack of subtlety, as problems abruptly get thrust into the foreground with little buildup or internal consistency.
  19. A modestly clever concept gets indifferent execution in When a Stranger Calls, another bigger-yet-blander remake of an allegedly "classic" '70s shocker.
  20. The good news is that Kevin Costner does some of the finest, most deeply felt work of his career as a widower lawyer fighting for custody of his biracial granddaughter in Mike Binder’s Black and White. The bad news is that this well-intentioned family drama never quite shakes free from its didactic, movie-of-the-week dramaturgy and a hand-holding approach to race-relations.
  21. The cluttered, overlong narrative never really finds its footing.
  22. Though visually stunning and blessed with immaculate 3D work, film is fatally bogged down by tackling an essentially ridiculous premise (gladiator-attired owls fight genocide) with stony solemnity, and by subsisting on a note of sustained menace and terror in what is ostensibly a children's film.
  23. Another in the procession of dead children movies that followed Atom Egoyan's magisterial "The Sweet Hereafter," helmer Gaby Dellal's sophomore effort unfolds in a similarly snow-blanketed small town filled with grieving adults, the community divided in apportioning blame. In contrast with Egoyan's labyrinthine structure and complex storylines, Crest cobbles together bits of plot and a motley assortment of half-formed characters.
  24. In choosing to cover the smaller picture of what has been little publicized, alongside the larger picture of what is generally known, pic loses momentum but gains depth.
  25. Though initially fascinating, this two-hour travelogue soon becomes repetitive as it forsakes stark desert isolation for icon-festooned churches and overcrowded ceremonies.
    • 41 Metascore
    • 50 Critic Score
    An apt follow-up to the two Matthew Shepard-themed movies that aired on TV in 2002.
  26. Emerges an uneven, occasionally vivid, ultimately unsatisfactory treatment of themes that should've packed more punch.
  27. A relentless excoriation of the School of the Americas.
  28. The two still rely on their run-on, Woody Allen-ish interlocking rhythms to smartly propel the desultory plot forward, but after countless mumblecore and slacker indies, the sense of newness is gone.
  29. Inspirational but uninspired sports movie.

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