Variety's Scores

For 8,260 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 Hugo
Lowest review score: 0 Reasonable Doubt
Score distribution:
8,260 movie reviews
    • 58 Metascore
    • 40 Critic Score
    Most of the jokes that might have seemed jolly fun on stage now appear obvious and even flat. The sparkle's gone.
  1. Not clever enough to be truly pretentious.
  2. Though it follows the reductive paradigms of men-on-the-make laffers, the low-budget, flatly shot picture rarely turns nastily shrill or swaggeringly stupid in tone; redemption and/or sanity is usually waiting in the wings.
  3. Icelandic helmer Baltasar Kormakur ("101 Reykjavik," "Jar City") injects notes of hysteria into the script's frenetic pileup of gratuitous cliches, as Dermot Mulroney pushes his square-jawed, desperate hero to near-masochistic extremes.
  4. For all its street edge, GhettoPhysics pretty much delivers the usual New Age seminar sleight-of-hand, providing a temporary, generalized sense of empowerment without any practical tools to improve one's lot.
  5. Helmer/co-writer Doug Langway's first feature has the right basic elements for niche DVD and cable success, but its overly digressive storytelling cries out for considerable tightening.
  6. The more the film implicates David, the more it distances itself and the viewer, playing out in the emotionally detached but sensationalistic, overripe manner of a tabloid freakshow.
  7. This f/x-heavy third adaptation of the Christian-themed fantasy series feels routine and risk-averse in every respect, as if investment anxiety had fatally hobbled its sense of wonder.
  8. Like a beautifully tailored suit that starts to smell funny after a few minutes, this sumptuous but stultifying lark sets up a quasi-Hitchcockian intrigue between two strangers abroad, but smothers any thrills or sparks in a haze of self-regard.
  9. The result falls squarely in familiar territory, better acted and better lit, perhaps, but more inauthentically melodramatic than ever.
  10. An underwhelming and derivative sci-fi thriller that's only marginally more impressive than a run-of-the-mill SyFy Channel telepic.
  11. The familiarity of the music may actually be a disadvantage; the ear wants the melodies to conform to one's memory of them, but instead they've been tortured into compliance with the needs of a standard movie musical.
  12. But atmospherics notwithstanding, the narrative unfolds unconvincingly in jerky fits and starts.
  13. Offering a smorgasbord of violence with liberal sprinklings of sex, Russian import Alien Girl delivers wearisome brutality but little finesse.
  14. A lazy attempt to milk a few more laughs and bucks from the enormously lucrative property spawned 10 years ago by "Meet the Parents."
    • 38 Metascore
    • 40 Critic Score
    Too much contemplation and not enough demonstration sends Thai-socky Ong Bak 3 slumping to the canvas.
  15. All the improbable, oddball and endless love in the world can't rescue Waiting for Forever from a premise that's irresponsible at worst and an example of profoundly bad timing at best.
  16. Formulaic and forgettable.
  17. Here he's (Trapero) lost his way, tripped up by an unexceptional script and the kind of mood-killing artificial spot lighting more often seen on TV dramas than widescreen thrillers.
  18. Winters deserves better.
  19. Tracks the race-to-the-deadline scramble of a personable young designer preparing an underfunded fashion show, but offers few threads that were not already more solidly and stylishly woven into "Unzipped," "Seamless" or "11 Hours."
  20. Manages to misfire in two seemingly incompatible directions. A puerile kiddie-comedy without the anarchic energy, and a schmaltzy romantic comedy without the sweetness.
  21. Without fully fleshed-out generic or social contexts, left-wing documentarian Philippe Diaz's preachy mix of graphic free love and polemical diatribe fails to mesh as fiction, though it does make for superior porn.
  22. This wan, mundane coming-of-ager focuses on kids enacting a pale imitation of '50s car-centered, "American Graffiti"-style time-killing, with the impediment of exceptionally dull dialogue.
  23. With the exception of Akerman's Annie, the characters are uniformly annoying, their stories insubstantial and the tone one of smug contentment.
  24. A kiss may cure the monster, but not even campy performances from Mary-Kate Olsen and Neil Patrick Harris can save this ugly snarl of cliches.
  25. A painfully dull plunge into the suffocating self-absorption that seems to be killing modern romance.
  26. Mostly, this is the cinematic equivalent of a first-person shooter game, one where the Marines possess only slightly more personality than the faceless invaders.
  27. Intermittently enjoyable hokum at best.
  28. Numbingly repetitive in its routines, and seeming to take a bow from the moment it begins, Lord of the Dance 3D makes crystal-clear the sometimes muddied distinctions between a live performance and the filmed alternative.

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