Variety's Scores

For 8,397 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 12 Years a Slave
Lowest review score: 0 Freddy Got Fingered
Score distribution:
8,397 movie reviews
  1. 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.
  2. Adam Sandler's recent low-key phase continues with this cleverly conceived but conspicuously unfunny comedy.
  3. The politics of homophobia and child molestation receive a badly misjudged tweaking in Peter Paige's writing-directing debut, Say Uncle.
  4. A ponderous, self-indulgent bedtime tale. Awkwardly positioned, this gloomy gothic fantasy falls well short of horror.
  5. Any provocative questions LaBute might have wanted to raise are totally obscured as the rising tide of absurdity gradually overwhelms the entire enterprise.
  6. 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.
  7. It's obviously intended as a star vehicle, but Broken Bridges turns out to be a rattletrap jalopy for country music performer Toby Keith.
  8. 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.
  9. Overstuffed and fatally miscast, All the King's Men never comes to life.
  10. 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.
  11. 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.
  12. 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.
  13. Story is incidental here, as auds merely anticipate the scares.
  14. Clearly, director Nolan is aiming for something else. But the delight in sheer gamesmanship that marked his breakout "Memento" doesn't survive this project's gimmickry and aspirations toward "Les Miserables"-style epic passion.
    • 71 Metascore
    • 40 Critic Score
    The handful of powerful speeches here do little, however, to offset story weaknesses that also include soft-edged characterizations, a faintly patronizing air regarding the black characters and a general avoidance of the issue most viewers will want to see addressed.
  15. Audiences won't show much clemency toward Death & Texas, an uneasy (and very unfunny) marriage of sports culture satire and death penalty polemic.
  16. Forgettable PG-13 pic will particularly strike fans of harder-edged recent horror pix as much ado about not much.
  17. Suffered from production fits and starts and reportedly has been cut down from a longer running time to a still tedious and repetitious hour and a half.
  18. Earnest but prosaic.
  19. The "Hostel" similarities may strike some as too close for comfort, not only in plot outline but also in general mix of xenophobia, sexploitation, sadism and gore.
  20. Picture veers unsteadily between melodrama and light comedy, with no confidence in either.
  21. Appropriating all the external trappings of big-budget fantasy but none of the requisite soul, this leaden epic never soars like the CG-rendered fire-breather at the core of its derivative mythology.
  22. This rambunctious, "Jumanji"-style extravaganza is a gallery of special effects in search of a story; rarely has so much production value yielded so little in terms of audience engagement.
  23. This is an especially limp star vehicle that delivers a few widely spaced moments of frivolity before what should be a quick mop-up trip to the DVD aisles.
  24. Indeed, you could argue that weighty questions about the nature of evil and the allure of sin figured more prominently in the similarly titled "Se7en," one of several other, better suspensers dimly echoed here.
  25. The entire star-crossed scenario is conveyed with the narrative simplicity of a musicvideo, lingering in an almost fetishistic manner on sensual details (boxes of chocolates, a blood-red ribbon) while compressing important elements of the story into clumsy montages.
  26. An exercise in canned cuteness, Because I Said So pushes its normally appealing stars, Diane Keaton and Mandy Moore, over the edge of sitcom hysteria.
  27. Pic relies on nerdy world-weary irony to carry the day, but doesn't convincingly draw its characters.
  28. Full of unlikely misunderstandings.

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