Variety's Scores

For 9,296 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 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Inherent Vice
Lowest review score: 0 Persecuted
Score distribution:
9296 movie reviews
  1. A movie of slick, surface-level pleasures that’s unpersuasive at its core.
  2. There's something clumsily charming about Sarah Landon and the Paranormal Hour.
  3. Best in its small moments, the movie should find receptive gal pals congregating for the mother of all viewing parties.
  4. This broad ethnic farce serves up a full-on culture collision, but -- thanks to a handful of diverting performers -- stops just short of becoming a train wreck.
  5. It’s an overlong Northern British heist caper with a wildly uneven tone and a needlessly scrambled narrative, but it suggests a higher intelligence beneath, waiting to flower down the road.
  6. For those who felt insufficiently uplifted by "Invincible" and "Gridiron Gang," here comes Facing the Giants, an aggressively inspirational drama about a born-again high school football coach.
  7. A game, disarming lead performance from Jess Weixler, who won a jury acting prize at Sundance, goes some way toward making palatable this mish-mash, whose provocative nature could carve out a certain commercial niche.
  8. Joshy offers a strange mix of elements that never quite add up.
  9. Her (Foster's) performance is contained in a schmaltzy, ultra-elaborate, overly long production.
  10. Both stars are in agreeable if uncharacteristically muted form, doing little to distinguish Genz’s pic from any amount of formula-following filler in the same B-movie ballpark.
  11. A fairly predictable yarn that’s lighthearted and well-acted.
  12. A mostly formulaic approach that becomes more disappointing as the yarn unwinds.
  13. First hour is an often gripping look at the realities of modern Islam ("You can do anything you want, as long as it's not in public," says a soldier's wife), before silliness takes over.
  14. A not terribly creative movie about the creative process.
    • 44 Metascore
    • 50 Critic Score
    A time-travel romantic comedy whose best elements -- Meg Ryan and Hugh Jackman -- overcome distracting plot holes, loose threads and assorted contrivances to make for a mostly charming and diverting tale.
  15. Though this sequel is just as glossy and shallow as its predecessor, the story gets juicier as the four femme friends transform from kittens to lynxes in the wake of boy troubles and corporate takeovers.
  16. Its translation from stage to screen looks to have been a bit rocky, and the film never manages to transcend its actors-workshop aura and develop into something deeper.
  17. Handsomely mounted, this direly conventional bit of vampire business is enlivened by flashes of humor and game performances. It isn't great entertainment or camp, but pic sets its ambitions so low, it can't help partially delivering on them.
  18. An alternately enchanting and exhausting anime adventure in which cutesy characters and peppy vocal turns belie a darker, angst-ridden narrative.
  19. Sekula's overwritten narration, with its fair share of whoppers, does his argument no favors, overwhelming genuinely interesting statistics.
  20. The film is never quite as startling or mysterious as it seems to want to be, leaving it in an uncertain cinematic limbo.
  21. Much more amusing in theory than in execution.
  22. Too mild-mannered and fuzzily focused for its own good.
  23. Without Smith's graceful presence, which more than once resembles Zach Braff's slightly older but observant New Jerseyite in "Garden State," Nearing Grace would be pure video fodder.
  24. 3 Needles is a great discussion tool for World AIDS Awareness Day that never achieves coherent shape as a three-paneled drama.
  25. Paul Osborne's script delivers an intriguing structure, though dialogue tastes like something warmed over after 12 years in Quentin Tarantino's freezer.
  26. High-spirited but hobbled by lame dialogue and sheer overkill, Dead Snow 2: Red vs. Dead marks an instance where too much of a good thing means it just isn’t good anymore.
  27. Hitchcock is a diverting but dramatically insipid account of how the Master of Suspense took his biggest gamble and delivered his greatest success with "Psycho."
  28. The idea of framing Holocaust atrocities in contemporary genre terms, although intriguing, is not without its perils, and the secret, when revealed, looms too large to fit within the plot’s parameters, creating strange disconnects between form and content.
  29. Even by the standards of the recent "Saws," which have enjoyed considerably larger budgets than the first pic, the new edition is more frenetically cut (by editors Kevin Greutert and Brett Sullivan), more dimly lit (by lenser David A. Armstrong), sweatier in terms of perfs by the grimly serious cast, more madly packed with micro-incidents and action, and more brazen in requiring suspension of disbelief.

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