Variety's Scores

For 8,411 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 Gregory Crewdson: Brief Encounters
Lowest review score: 0 Persecuted
Score distribution:
8,411 movie reviews
  1. A labored screwball comedy about disenchanted people of privilege yearning for fulfillment, pic is full of leaden hijinx directed and played with all the subtlety of a myocardial infarction.
  2. A picturesque adventure-comedy that quickly capsizes under the weight of its obnoxious slapstick, pedestrian dialogue and general unwillingness to rise above stock ideas and situations.
  3. Ultimately less dependent on suspense or even scares than on squirm-inducing grossouts, this tale of Yank hardbodies vs. carnivorous creepers should flower briefly in hardtops, then spread like an invasive weed in ancillary.
  4. Parise no doubt intends the pic's attention to the disease -- plus animal adoption and fair trade coffee -- to be socially enlightening, but it feels suspiciously like sympathy-mongering.
  5. A femme-centric drama about the aftermath of a high school massacre, profoundly confusing "In Bloom" arrives at some very tenuous moral conclusions that might alienate much of its supposed target audience.
  6. Public fascination with Texas Hold 'em and other poker variations will likely bolster B.O., though more discriminating auds may choose to pass.
  7. Strip out Deception's fleeting nudity and what's left is a throwback to "B" movie days -- a thin thriller, burdened by clunky dialogue and prone to telegraphing its twists.
    • 37 Metascore
    • 40 Critic Score
    Like a shopworn wedding gown disguised with a new sash, Made of Honor feels recycled from top to bottom. That's because it's essentially a gender-swapped version of "My Best Friend's Wedding."
  8. Ochoa is such a masterful actor that he makes things fairly interesting despite the script, with Hernandez and Espindola well-cast as two young men operating by different moral compasses.
  9. This anything-goes exercise isn't dull -- one just wishes the outrageousness were more consistently funny.
  10. A blackly comic take on the first totally outsourced war? We're too close to being in one right now, which makes this John Cusack vehicle too close for comfort. It's also so close to being funny you can just about taste it -- just about.
  11. The off-the-wall comedy of Robert Smigel and Judd Apatow leaves a mark on the script, but it would require a talent of Peter Sellers' magnitude to conquer this material, and he's not around.
  12. So relentlessly juvenile as to merit a new twist on the PG-13 rating -- one that strongly cautions not only those under 13 but anyone much above it, too.
  13. Astonishingly, pic reaped hearty guffaws at Berlinale press show, suggesting this might play best in Europe, but Anglophone auds are more likely to give Palm the thumbs down.
  14. It all rings particularly hollow in light of several recent pics ("Last Orders" and "The Barbarian Invasions" chief among them) that have explored similar terrain with much greater emotion and intelligence.
    • 36 Metascore
    • 40 Critic Score
    Enjoyably slim family entertainment.
  15. A handsome contraption that's never very engaging, let alone convincing.
    • 52 Metascore
    • 40 Critic Score
    Lock Up is made in the same, simplistic vein as most other Sylvester Stallone pics - putting him, the blue-collar protagonist, against the odds over which he ultimately prevails.
  16. The acting is so emotionally unhinged and erratic it borders on camp, diluting any suspense.
  17. Hardly superbad, but sorta OK.
  18. A noisier, costlier version of "Children of Men," yet lacking that film's social-political significance and jaw-dropping direction.
  19. The Women is less about getting even than about inspiring that same mushy sense of female empowerment you might find in a Tyler Perry meller, complete with manic mood swings and full-blown diva moments.
  20. Unable or unwilling to match the visceral chops and moral provocations of superior serial-killer chillers, Righteous Kill is content to be a twisty genre exercise; it's like "Seven" as reimagined by M. Night Shyamalan.
  21. That the film is animated gives it an appropriately magical feel, but it can't save the story from being drowned in devices and stereotype.
  22. Although guided by considerable empathy toward its small circle of kinfolk eking out a living in southern Texas, Eska's tale of a woman's unconditional support of her father-in-law is told with a faux-poetic sensibility that never really connects with his characters' lives.
  23. A clumsy but inoffensive romantic comedy.
  24. Partly produced by Lifetime, the pic attempts to elevate the disease-of-the-week movie into a moral dialectic between conformity and imagination.
  25. Palahniuk's antic absurdism is duly present, but the hurtling pace and barely-underlying nihilism that transferred to screen so vividly in "Fight Club" aren't much in evidence here.
  26. It's hard to find the genuine heartfelt moments in The Lucky Ones.
  27. A disappointingly stilted melodrama masquerading as a political thriller.

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