Variety's Scores

For 10,103 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Moonlight
Lowest review score: 0 The One
Score distribution:
10103 movie reviews
  1. Cameron is genuinely compelling as Caleb.
  2. What the picture most needed was a complete cinematic rethink and, yes, even some action to move it along.
    • 60 Metascore
    • 50 Critic Score
    These guileless airheads with the outrageous vocabulary are obviously a beloved creation, and filmmakers might have gotten more mileage if they'd rooted their adventure a bit more in reality.
  3. Genetically-modified (or GM) fruits and vegetables are a topic of raging debate in scientific and ecological circles, so it's a shame writer-director Deborah Koons Garcia opts to show only one side of the argument.
  4. Like last year's "All Good Things," this fictionalized take on a still unresolved true-crime case of deception and disappearance can't help but intrigue, though the execution falls short of its full potential.
  5. The feel of a direct-to-video title that's been upgraded to theatrical status in the hopes of wringing a few extra bucks out of it and improving its not-too-distant homevid marketability.
  6. The unwillingness to let nuance communicate lends a flat quality to the drama here; after the initial crimes, suspense situations are simply lopped off prematurely, the action jumping clumsily to their aftermath.
  7. A strong cast, beautiful production values and generally pleasant execution can't disguise the fact both laughs and surprises are on the thin side here, despite the abundant care and affection lavished on the central characters by first-time writer-director David Munro.
  8. The characters, situations and dialogue too seldom escape cliche in Gabriel Cowan’s watchable but unmemorable feature.
  9. The arguments between Ramanujan and Hardy form easily the most absorbing aspect of The Man Who Knew Infinity, as their eloquent clash of wills is shown to be not just intellectual but ideological in nature.
  10. This ostensible spoof of "radical chic" is, like his previous works, at once amusingly outrageous and slightly dull.
  11. This high-end softcore thriller is juicily watchable from start to over-the-top finish, but its gleeful skewering of the upper classes comes off as curiously passe, a luxe exercise in one-note nastiness.
  12. Part bromance, part sci-fi spoof and all a bit disappointing.
  13. Muniz uncovers a raft of intriguing people and stories, with subjects ranging from sports to astrophysics, gender politics, history and developmental psychology, but he never sits still with them long enough to ask any probing questions, and the film never arrives at any real point.
  14. A broad and obvious approach to ambiguous material that's virtually all plot mechanics with little nuance or characterization.
  15. A Teutonic version of "American Beauty" with added dysfunctionality.
  16. Junky, jokey and sometimes both at once, pic marks yet another attempt by World Wrestling Entertainment to establish one of its burly superstars as a movie lead.
  17. Unfortunately, picture's concept doesn't stretch to 74 minutes.
  18. The intense focus on the two lead characters emerges as both a strength and a weakness. There’s a lot of walking and talking, and what begins as rather charming ultimately turns tedious, even with a fleet 80-minute running time before closing credits factor in.
  19. Rousing, family-friendly item has a big, epic look and state-of-the-art visual effects, which help to make pic -- a high-profile example of the mainstreaming of Christian entertainment.
  20. Takes itself so seriously that it never has fun with its shopworn genre elements.
  21. Lights in the Dusk finds veteran Finnish helmer Aki Kaurismaki treading water with an amiable but very undercooked noirish fable about a security guard done wrong by a femme fatale.
  22. The screenplay leaves it to the audience to map the psychological terrain, which will frustrate some but thrill others who prefer oblique storytelling.
  23. Low on drama and originality, and high on deja vu, sophomore outing by writer-director Li Yang ("Blind Shaft," 2003).
  24. The strangest thing about The Shack, and the reason it’s finally a so-so movie, is that all the rage and terror and dark-side vengeance that Mack has to learn to transcend is something we’re told about, but we never actually see him mired in it.
  25. It’s a wingless exercise, despite a rather heartening attitude toward space travel that will introduce young auds to the glory that was NASA in the '60s.
    • 55 Metascore
    • 50 Critic Score
    Julie Christie, Peter Finch, Terence Stamp and Alan Bates are variedly handsome and have their many effective moments, but there is little they can ultimately and lastingly do to overcome the basic banality of their characters and, to a certain degree, their lines.
  26. This adaptation of the graphic novel "Hellblazer" blazes few new trails and bogs down in a confusing narrative muddle.
  27. A disjointed story of self-discovery, courage and redemption somewhat incongruously billed as a salute to Akira Kurosawa.
  28. Stirring up a humid Gothic mood and amassing a gifted roster of actors, The Skeleton Key is unable to ward off the nasty spirits of formula screenwriting.

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