Variety's Scores

For 8,452 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 Being John Malkovich
Lowest review score: 0 Divorce: The Musical
Score distribution:
8,452 movie reviews
  1. The serious subject of forced female circumcision becomes the stuff of predictable melodrama in God's Sandbox.
  2. Tendency to go for art rather than action, and a leisurely pace that isn't bolstered by much dialogue or food for thought.
    • 44 Metascore
    • 40 Critic Score
    Reeves, with his beguilingly blank face and loose-limbed, happy-go-lucky physical vocabulary, and Winter, with his golden curls, gleefully good vibes and 'bodacious' vocabulary, propel this adventure as long as they can.
  3. Aiming to join the Jerry Bruckheimer/Michael Bay school of American movie war games, Stealth is just too dumb to make the grade.
  4. This overlong march will bore all but the most nobly patriotic.
  5. An exercise in bad taste that takes itself just seriously enough to be offensive.
  6. Fails to get off the ground due to a by-numbers script and dodo-ugly character design.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. Pic's quirky-for-quirky's-sake antics are neither particularly coherent nor enjoyably incoherent.
  14. A string of scenes in search of a movie.
  15. 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.
  16. 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.
  17. Emerges as an overproduced novelty pic that looks and feels more like a company promo reel than an engaging piece of storytelling.
  18. 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.
  19. 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.
  20. 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.
  21. Comes off as lame and unfocused as its draggy dramatis personae.
  22. Satisfying neither as character study nor as straight-ahead actioner.
  23. Unfortunately, interest lags between the grisly deaths, and, worse, none of the characters generates rooting interest.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. Much of the film plays awkwardly, its tone veering undecidedly between volatile drama and contemplative psychological study.

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