Variety's Scores

For 8,557 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 Leaving Las Vegas
Lowest review score: 0 Movie 43
Score distribution:
8,557 movie reviews
  1. 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.
  2. Fluff is hardly the word for Neal 'n' Nikki, a mismatched romantic comedy that makes most Bollywood twosomes look like art movies.
  3. 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.
  4. Even Sandler diehards may pass on this mostly derivative paean to compulsive computer geekdom and male sexual dysfunction.
  5. 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.
  6. 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.
  7. 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."
  8. Lack of perspective and shaky comic tone plague Tollbooth -- sinking it in a morass of whiny cliches.
  9. 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.
  10. 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.
  11. This fur-fetched tale is bearable family viewing.
  12. 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.
  13. 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.
  14. Lacks focus and momentum as it attempts to interweave diverse story strands into a cautionary tapestry.
  15. An obviously sincere but didactically repetitive documentary.
  16. 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.
  17. 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.
  18. 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.
  19. Under Dennis Dugan's rote direction, Schneider winds up playing straight man to Spade, who once again relies on his snarky coward shtick, and Heder, who comes across like someone doing a bad imitation of ... well, Heder himself in "Napoleon Dynamite."
  20. Mo'Nique, a vet standup and sitcom performer whose sassy, brassy shtick isn't nearly enough to support material this insubstantial.
  21. Scary Movie 4 finds horror parody overshadowed by ho-hum groin blows, C-list celebrity cameos, slapstick child abuse, soon-to-be-forgotten hip-hop personalities, plus scatalogical and gay jokes; real laughs are few.
  22. Uninspired character animation and obnoxious banter aside, The Wild is ultimately done in by the persistent stench of been-there-seen-that.
  23. Combining a gallery of targets including President Bush, "American Idol," the Iraq War and the overarching theme of a nation of citizens held in the thrall of phony dreams, pic and its ambitions are undermined by insistent cartoonishness and comic ineptitude.
  24. In the end, Silent Hill degenerates into an overblown replay of all those "Twilight Zone" and Stephen King stories in which outsiders stumble upon a time-warped location from which there's no escape.
  25. Abominable goes completely over the top into an Ed Wood-meets-"Rear Window" subspecies of giddy, gory amateurish abandon.
  26. Soapy melodrama and a small-screen cast undermine the first-time director's efforts.
  27. Even a magnificently inspired Maria Bello proves insufficiently daring to save Richard Alfieri and Arthur Allan Seidelman's Chekhov-based chamber piece Sisters from pretentious psychodrama.
  28. With Mariel Hemingway a credible Sapphic Stallone, this passable action trash should satisfy as fun original programming for gay-targeted Here! cable net.
  29. A by-the-numbers ensemble dramedy that hits every underdog and gay-fish-out-of-water cliche on the nose.
  30. Throats are ripped, heads are crushed and limbs are severed with brutal efficiency throughout See No Evil, but that's not nearly enough to dispel the sense of deja vu that pervades this generic slasher thriller.

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