Variety's Scores

For 8,457 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 Bloody Sunday
Lowest review score: 0 Rollerball
Score distribution:
8,457 movie reviews
  1. 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.
  2. Much of the film plays awkwardly, its tone veering undecidedly between volatile drama and contemplative psychological study.
  3. Whatever John Patrick Shanley's script may have tried to do in adapting Crichton's book, it clearly feels as if the picture were edited to leave the action sequences in while removing any connecting material that might have helped them make sense.
  4. This murky psychological suspenser manages the tricky feat of being as predictable as it is finally preposterous.
  5. Without Watts, Scott Coffey's feature-length expansion of his identically titled short wouldn't amount to much.
  6. Result is a loose personal piece of reportage that places people over ideas and larger issues, and reveals the pic's severe limitations long before a surprisingly upbeat ending.
  7. The future looks alternately grim and hysterical in Aeon Flux, a spectacularly silly sci-fier that plays like "The Matrix" crossed with "The Island" and reinterpreted as a long-lost Michael Jackson video.
  8. Pic displays filmmakers Kevin Harrison's and Kemp Curley's love of snowboarding, but suffers from an unjustifiably long running time, considerable repetition and a generally awkward structure.
  9. Menacing atmosphere created by Dutch helmer Paula van der Oest ("Zus & Zo") does not make up for the weak script's multiple improbabilities, flat dialogue or the discomfort of watching children, the handicapped and even animals being abused onscreen.
    • 37 Metascore
    • 40 Critic Score
    Seemingly clueless as to how best to utilize Carrey, or make humorous hay out of its pet-loving shamus' central character, Ventura fails to place either Carrey or Ace in the winner's circle of memorable screen crazies.
  10. Yet even with its ribald laughs and spectacular action sequences (clearly seeking to up the ante on the latter front), the movie gets mired in a comedic midsection that wears the audience down, sapping their energy before the film shifts to a chaotic third act that just doesn't know when to quit.
  11. The story is undoubtedly weird, but perhaps more so on paper than on the screen, since Russell and his actors have played it mostly straight in attempting to confer psychological validity on all the untoward developments.
  12. Bland, canned but studiously professional sequel retains most of the principals from Fox's family-friendly 2003 hit, including the ever-reliable Steve Martin and Bonnie Hunt.
  13. Fluff is hardly the word for Neal 'n' Nikki, a mismatched romantic comedy that makes most Bollywood twosomes look like art movies.
  14. Snowed under by misjudgment on every level, The Big White is DOA. Despite a cast that generally reads like an indie production's wish list, pic's tendency to liberally borrow from the Coen Brothers playbook of comic mayhem is exceeded only by its lack of sense of what's actually funny.
  15. Even Sandler diehards may pass on this mostly derivative paean to compulsive computer geekdom and male sexual dysfunction.
  16. Most successful when it is engaging, not uproarious. Glossy amusement is an updated remake of a well-regarded 1950 Brit comedy-drama starring Alec Guinness, improbably retrofitted as a star vehicle for Queen Latifah.
  17. The joys of farce are fumbled in April's Shower, star-director-writer Trish Doolan's arch and undernourished comedy about a bridal shower turned on its head by the bride's lesbian past.
  18. The subject being race relations, Manderlay is bound to stir considerable debate in intellectual circles, but given the director's abstract style and use of characters to enact an agenda, it's a discussion that will exclude the general public, who will ignore it as they did "Dogville."
  19. Lack of perspective and shaky comic tone plague Tollbooth -- sinking it in a morass of whiny cliches.
  20. Family drama appears content to present the situation without going for anything remotely close to the emotional jugular. Result is unsatisfying and even dreary, despite some fine work from Zooey Deschanel and a becalmed Will Ferrell.
  21. Penn looks bewildered in a role that simply doesn't track, but Kechiche rises to the occasion. Stanzler's helming, shot blandly in digital vid, amounts to point-and-shoot.
  22. This fur-fetched tale is bearable family viewing.
  23. Game 6, the first screenplay by one of America's great living novelists, Don DeLillo, is poorly served by Michael Hoffman's flat, soporific direction.
  24. None of the characters is given much depth or meaningful backgrounding, leaving the capable thesps with plenty of anguish and emotion to play but not much else.
  25. Lacks focus and momentum as it attempts to interweave diverse story strands into a cautionary tapestry.
  26. An obviously sincere but didactically repetitive documentary.
  27. 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.
  28. 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.
  29. 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.

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