Variety's Scores

For 7,983 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 In the Name of the Father
Lowest review score: 0 The One
Score distribution:
7,983 movie reviews
    • 57 Metascore
    • 40 Critic Score
    The energy and heart which Robert Zemeckis and story-writing partner Bob Gale (who takes solo screenplay credit this time) poured into the ingenious story of part one is diverted into narrative mechanics and camera wizardry in Future II.
    • 23 Metascore
    • 40 Critic Score
    The script, while largely historically accurate, is undermined by stilted dialogue, and the picture is laced with ill-fitting parts that wind up literally all over the matte. The result is a film better suited to classrooms than theaters.
  1. Just about every charge of social negligence leveled at Spring Breakers can be countered with an arch claim of intent, which makes it at once playful and wearying; enjoyment is contingent on how little you're willing to fight it.
  2. There's a reason creepy character actors seldom play lead, and Karpovsky's amusingly off-kilter quality is better suited to the background, while Prediger (as the stranger he desperately wants to ditch, lest his ex-g.f. discover his infidelity) has the makings of an indie star.
  3. Potter seems at a loss to communicate the ideas behind her agonizingly elliptical picture, leaving auds to marvel at the gorgeous cinematography and scarlet-red hair of its heroine, earnestly played by Elle Fanning in a project undeserving of her talents.
    • 32 Metascore
    • 40 Critic Score
    Helmer/co-scripter Jean-Jacques Annaud's rep for spectacle over screenplay is again borne out in this overblown yet oddly anemic epic of warring Arabian tribes during the nascent oil boom.
  4. Emperor’s bloodless presentation fails on a fundamental dramatic level, playing like the fancy version of a junior-high educational filmstrip, down to the false suspense of Alex Heffes’ corny ticking-clock score.
  5. The picture draws only slight entertainment value from the spectacle of youngsters warbling 1970s pop tunes, like a retro version of “High School Musical” with less charm.
    • 43 Metascore
    • 40 Critic Score
    A dystopic sci-fi romance about inverted planets that will have audiences wondering which way is up, but not really caring much or for very long.
    • 42 Metascore
    • 40 Critic Score
    Superman III emerges as a surprisingly soft-cored disappointment. Putting its emphasis on broad comedy at the expense of ingenious plotting and technical wizardry, it has virtually none of the mythic or cosmic sensibility that marked its predecessors.
  6. Both subscribes to and somewhat departs from the bare-bones improvisational formula established by the mumblecore movement, sometimes sacrificing ambiguity for the sake of broader, telegraphed, one-note laughs.
  7. Icky though it is, Antiviral never builds the sort of character investment or narrative momentum that would allow its visceral horrors to seriously disturb, rather than seeming like choice gross-out moments lovingly designed for maximum viewer recoil.
  8. Firth and Blunt make a strange couple, and Ariola a musicvideo helmer making his feature debut, should have devoted more time to making the chemistry work than to sustaining the melancholy mood.
  9. Relative to the major brands, the intimate, handcrafted approach should yield more flavor. Instead, Drinking Buddies offers mostly froth.
  10. The film isn’t so much funny as it is merely amusing — a laundry list of inappropriate and potentially embarrassing moments that strive mightily, but never quite manage to land the laugh.
  11. Mira Nair’s latest immigrant saga saddles itself with a laborious narrative structure and half-baked thriller elements in a misguided attempt to open up what should be an intimate, introspective story.
    • 29 Metascore
    • 40 Critic Score
    Many of the actors give performances in line with their low profile here.
  12. Sentencing a sad-looking John Cusack and a hard-working Malin Akerman to roughly 90 minutes of solitary confinement in a poorly lit underground bunker, this glum, juiceless spy thriller is a by-the-numbers affair indeed, unlikely to find an audience on any frequency.
  13. This scattershot documentary — an undiluted advertisement for this temple of high-end consumerism — jumps skittishly from subject to subject, disjointed and repetitive for all but dyed-in-the-wool fashionistas.
  14. Plop plop. Fizz fizz. Oh, what a missed opportunity it is! In the well-cast but seldom funny satire And Now a Word From Our Sponsor.
  15. Not so much a probing examination as a fulsome celebration.
    • 72 Metascore
    • 40 Critic Score
    Scarecrow is a periodically interesting but ultimately unsatisfying character study of two modern drifters.
    • 30 Metascore
    • 40 Critic Score
    Ditching the hangovers, the backward structure, the fleshed-out characters and any sense of debauchery or fun, this installment instead just thrusts its long-suffering protagonists into a rote chase narrative, periodically pausing to trot out fan favorites for a curtain call.
  16. Apart from its general knock against ageism in Hollywood, The Congress doesn’t have much insight to offer on the subject.
    • 35 Metascore
    • 40 Critic Score
    Kleist’s direct language and straightforward storytelling are nowhere in evidence in Pallieres’ narratively challenged adaptation, featuring a French-speaking Mads Mikkelsen in one of his least impressive characterizations.
  17. Bursting with cheap f/x, the pic is often tedious when not repugnant, but it’s hard to dislike.
  18. Director Scott Hamilton Kennedy (“The Garden”) favors formulaic uplift over investigation, failing to offer a p.o.v. on whether young creative people should be driven as mercilessly as these. Lackluster videography further dulls the pic, which culminates in frustratingly fleeting glimpses of the students’ year-end performances.
  19. The humorless tone and relentlessly noisy (visually and sonically) aesthetics leave much to be desired.
  20. A glossy, well-meaning but dramatically listless study of class relations in contemporary Paris.
  21. Spielberg is such a talented director it’s a shame to see him lose all sense of subtlety and nuance.

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