Variety's Scores

For 8,829 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 The Assassin
Lowest review score: 0 Bio-Dome
Score distribution:
8,829 movie reviews
  1. The overall effect simply underlines the central weakness of the pic: that the neo-kitschy futuristic scenes don't add much to the real-life '60s relationships.
  2. The tilt here toward a hyperactive, buddy-movie action-adventure with loud comic archetypes is a poor fit for a film that relies on fairy tale icons and themes.
  3. Undeniably topical but the lack of emotional investment in its characters renders it more intelligent than engaging.
  4. The key to enjoying Sanctum is to look, not listen.
  5. Completely disposable yet rousing on its own crude, testosterone-saturated terms.
  6. A weaker "Elephant," Quebecois director Denis Villeneuve's school-shooting drama Polytechnique nevertheless distinguishes itself by endeavoring to comprehend the 25-year-old man who murdered more than a dozen female students at Montreal's Polytechnique School in 1989.
  7. Comes off as a retro reprise of those slam-bang, buddy-buddy action-comedies that proliferated throughout the '80s in the wake of "48 HRS."
  8. Chris Gorak grabs the viewer by the throat in the first few minutes, but quickly fritters away involvement by concentrating almost exclusively on two characters who are both annoying and boring.
  9. A cute but disposable item were it not for the story’s weird racial undertow.
  10. Like a mouthful of honey, The Secret Life of Bees is cloyingly sweet and gooey, and you're not quite sure you can swallow it undiluted.
  11. Starts off promisingly but peters out as the story, told practically sans dialogue, heads nowhere consistent.
  12. Sparkle deals in such well-worn rise-and-fall music-bio tropes that it's hard to blame it for simply coasting on narrative shorthand at times. But the lackadaisical storytelling can inch toward outright laziness.
    • 61 Metascore
    • 50 Critic Score
    Robert De Niro's second film as a director adopts a methodical approach and deliberate pace in attempting to grasp an almost forbiddingly intricate subject, with a result that is not boring, exactly, but undeniably tedious.
  13. This unwieldy drama of conscience in the wake of tragedy is hyperarticulate but rarely eloquent, full of wrenchingly acted scenes that lack credible motivation or devolve into shrill hectoring.
  14. All the more disappointing, then, that a story so pregnant with dramatic possibilities should wind up feeling like such an unconsummated opportunity. Drawn from Stephenie Meyer's polarizing, weirdly compelling fourth novel, the film is rich in surface pleasures but lacks any palpable sense of darkness or danger.
  15. Sometimes succeeds, but mostly comes off as a vanity project for writer-star Brent Gorski.
  16. Carefully crafted and impressively thesped, particularly by Margo Martindale, Zack Parker's ambitious, self-styled thriller channels a wide spectrum of high-concept classics, from "Rashomon" to "Memento." But the resolution of its conflicting truths proves so bizarre and idiotically off-the-wall that it mitigates all that precedes it.
  17. Once Choose Connor ventures into the larger political arena, it begins to work against itself.
  18. A waterlogged would-be thriller deep-sixed by its misguided notion of high concept. [12 January 1998, p. 63]
    • Variety
  19. A radiant perf by Annie Parisse and a virtuoso turn by Eli Wallach are insufficient to lift this male intergenerational angst-fest out of the ghetto.
    • 64 Metascore
    • 50 Critic Score
    Beverly Hills Cop is more cop show than comedy riot. Expectations that Eddie Murphy's street brand of rebelliousness would devastate staid and glittery Beverly Hills are not entirely met in a film that grows increasingly dramatic.
    • Variety
  20. By turns darkly comical, seriously scary and purposefully incendiary, Bush's Brain may seem, depending on your politics, either a shamelessly one-sided assault on a popular U.S. president or a justifiably harsh critique of a politician who personifies the Peter Principle.
  21. Where the film falters is in the writing of its central relationship: That Jackie and Angelo love each other fiercely doesn’t make their interactions any less hard to take, and Australian newcomer Thwaites (“Maleficent,” “Son of a Gun”), despite his ample charisma and pitch-perfect American accent, can’t quite get past his character’s callow, whiny affect.
    • 52 Metascore
    • 50 Critic Score
    An odd creation - at times nearly smothering in arty somberness, at others veering into good, wacky fun.
  22. Decently crafted but with not quite enough up its narrative sleeve to make a memorable impact, writer-director Craig DiFolco’s debut feature leaves one waiting for explosive revelations that never arrive.
  23. Te laughs "Fockers" generates are the type you feel embarrassed about almost immediately afterward.
  24. It’s a fond, briskly diverting homage, but not a truly inspired one.
  25. Too tepid to interest anyone old enough to operate a TV remote control.
  26. Despite some imaginative packaging too often proves a drag in more than the sartorial sense. Taking Mitchell's sketchy book far too seriously, the movie grows leaden between its terrific songs.
  27. Great for ADD-style viewing but not for advancing Iranian cinema's currently challenged profile.

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