Variety's Scores

For 8,682 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Time of the Wolf
Lowest review score: 0 Wrong Cops
Score distribution:
8,682 movie reviews
  1. After a string of direct-to-video excursions, this latest film remains an off-putting assault of too-screwball comedy with glints of pathos.
  2. Tendency to go for art rather than action, and a leisurely pace that isn't bolstered by much dialogue or food for thought.
  3. The script, co-written by vet Mardik Martin, is pedestrian, and the mise-en-scene, striving hard for a classic Hollywood look, lacks grandeur, notwithstanding impressive location work.
  4. The cataclysmic changes in attitude and lifestyles the characters pass through at irregular intervals from 1973 to 1984... seem to consist wholly of changes in hairstyle that look as wildly stereotyped and inauthentic as the gestures and lines that accompany them.
  5. The only real tension you feel in Dying of the Light is that between the thoughtful, tough-minded character piece Schrader presumably thought he was making and the bruised, indifferent hackwork that has ultimately made it to the screen.
  6. An empty shell.
  7. The star in this case is Martin Lawrence, who is not only thoroughly upstaged by nemesis Danny DeVito but is completely boxed out of his comfort zone for broad physical comedy.
  8. 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.
  9. Clunky allegorical elements, however, remain unsatisfyingly ambiguous throughout the picture.
    • 44 Metascore
    • 40 Critic Score
    Vatel, a no-expense-spared costumer, is further proof that all the money and technical expertise in the world are no substitutes for a good screenplay and creative direction.
  10. Tulip has the conviction as well as the artlessness of a saber-rattling speech at a political fundraising dinner, one that preaches fire and brimstone to inflame the already converted. Those seeking a more nuanced portrayal of the challenges facing the country will be less satisfied.
  11. Kashyap relies completely on star Ranbir Kapoor to put over this relentless reiteration of cliches and, admittedly, the actor invests his aggressively tasteless, crotch-grabbing antics with enough energy and humor to make it palatable, but only just.
  12. There's more genuine humor to be gleaned from saying "Woodcock" over and over again than from watching Mr. Woodcock, a wan comic effort barely elevated a few notches by Billy Bob Thornton's passive-aggressive villainy.
  13. Much of the film plays awkwardly, its tone veering undecidedly between volatile drama and contemplative psychological study.
  14. A noisier, costlier version of "Children of Men," yet lacking that film's social-political significance and jaw-dropping direction.
  15. The Vampire's Assistant is too busy making impossible claims about just how spectacular its sequels will be to serve up a self-contained story with a satisfying finale.
  16. Has a whole new director, cast and crew, with slightly higher production polish and more familiar faces onscreen. Nonetheless, it's consistent with its predecessor as a somewhat awkward translation of Ayn Rand's 1957 novel to our current era, handled with bland telepic-style competency.
  17. Rebecca Hall's enjoyably bubbly lead performance lends the picture an occasional frisson of amusement.
  18. Pic's quirky-for-quirky's-sake antics are neither particularly coherent nor enjoyably incoherent.
  19. As first features go, A Teacher demonstrates a willingness to provoke, but doesn’t seem to understand the minimum expectations most audiences place on films in terms of both incident and characterization.
  20. Lapses in the screenplay are mitigated only slightly by the natural chemistry between Long and Rossum.
  21. A typical grab bag of works of varying depth, all of them breezy and entertaining.
  22. This inane and incredibly tasteless sequel qualifies as an excuse to bring back those hard-working funnymen Jason Bateman, Charlie Day and Jason Sudeikis for another round of amateur-criminal hijinks and semi-improvised vulgarity, jabbing away repeatedly at some elusive comic sweet spot where blatant nastiness and egregious stupidity collide — and very occasionally hitting the mark.
  23. 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.
  24. With "Shampoo" and "American Gigolo" now distant memories, the time evidently seemed ripe for another Hollywood stud movie. Despite Ashton Kutcher’s believability as an older woman’s kept boy, Spread isn’t a patch on those previous films.
  25. Achieves a modest degree of tension and dark humor before tilting into gory overkill, while its diffuse central ideas — about materialism, the dangers of playing God and the latent human capacity for violence — never really take plausible shape.
  26. If drive-ins still existed, this film would rule there for weeks.
  27. Instructions Not Included is a sporadically amusing but unduly protracted dramedy that slowly — very slowly — devolves into a shameless tearjerker during its third act.
  28. As violent as its predecessor yet noticeably duller and less outrageous, Machete Kills is dragged to the finish line entirely by its director’s madcap energy and an absurd cast of major stars in strange cameos.
  29. Hoge shows no particular directorial style, bringing a bland, anonymous look to the generic Southern California suburban locations.

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