Variety's Scores

For 8,679 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 Spirited Away
Lowest review score: 0 Persecuted
Score distribution:
8,679 movie reviews
  1. A bland, perverse round-robin of teen angst.
    • 44 Metascore
    • 40 Critic Score
    A mostly slick, intelligent psychological thriller/modern morality tale flawed by occasional lapses of subtlety and a central performance that veers just to the wrong side of empathetic.
  2. The story is undoubtedly weird, but perhaps more so on paper than on the screen, since Russell and his actors have played it mostly straight in attempting to confer psychological validity on all the untoward developments.
  3. An instantly forgettable trifle.
  4. 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.
  5. There are intriguing, half-formed ideas afoot in Transcendence, but the script and Pfister’s heavy, humorless direction tend to reduce everything to simplistic standoffs between good and evil.
  6. The "Hostel" similarities may strike some as too close for comfort, not only in plot outline but also in general mix of xenophobia, sexploitation, sadism and gore.
  7. Pic relies on nerdy world-weary irony to carry the day, but doesn't convincingly draw its characters.
  8. Both subscribes to and somewhat departs from the bare-bones improvisational formula established by the mumblecore movement, sometimes sacrificing ambiguity for the sake of broader, telegraphed, one-note laughs.
  9. Menacing atmosphere created by Dutch helmer Paula van der Oest ("Zus & Zo") does not make up for the weak script's multiple improbabilities, flat dialogue or the discomfort of watching children, the handicapped and even animals being abused onscreen.
  10. Brit filmmaker Sue Clayton's muddled feature bow is full of intriguing ideas and incidental charms that fail to come together into a cohesive whole.
  11. Amounts to a giant cry of "Americans, get engaged!" wrapped in a star-heavy discourse that uses a lot of words to say nothing new.
  12. When a novel gives you soapsuds and washboard abs to work with, what other choice does a director have but to provide the most aesthetically pleasing actors, scenery and sets to disguise the thinness of the underlying material.
  13. Every bit as cliched as it sounds, picture offers a dramatically crude, overly familiar take on the bad-boy-turned-good story. At its best, it offers young thesps E.J. Bonilla and Veronica Diaz-Carranza a showcase for their range.
  14. Manages to misfire in two seemingly incompatible directions. A puerile kiddie-comedy without the anarchic energy, and a schmaltzy romantic comedy without the sweetness.
  15. Arguably the finest athlete in living memory deserves better than Michael Jordan to the Max, an honorific but unmoving portrait of the Chicago Bulls' No. 23.
  16. Loitering With Intent is essentially a 75-minute hangout movie, which would work better if the characters were worth hanging out with.
  17. Spanish writer-director Cesc Gay and Argentine co-director Daniel Gimelberg cook up one or two agreeably tart episodes in this uneven pic, but ultimately, it plays like "Four Rooms" without a budget.
  18. Fails to get off the ground due to a by-numbers script and dodo-ugly character design.
  19. Family drama appears content to present the situation without going for anything remotely close to the emotional jugular. Result is unsatisfying and even dreary, despite some fine work from Zooey Deschanel and a becalmed Will Ferrell.
  20. What begins as a moderately interesting set of interconnected mysteries involving race and identity soon grows eye-rollingly laborious, not to mention increasingly derivative of Christopher McQuarrie's "Usual Suspects" script.
  21. There's nothing funny, provocative or involving about what "Shrek" co-writer Joe Stillman and the team from Madrid-based Ilion Animation Studios do with the notion here.
  22. An underwhelming and derivative sci-fi thriller that's only marginally more impressive than a run-of-the-mill SyFy Channel telepic.
  23. 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.
  24. Repetitive and needlessly prolonged tale does build to an inspired final scene, but it's too little, too late.
  25. An exercise in bad taste that takes itself just seriously enough to be offensive.
  26. Inspiration is running thin in comedian Margaret Cho's fourth concert film, a routine stand-up set that compares poorly to her oft-hilarious first two.
    • 35 Metascore
    • 40 Critic Score
    Much of the early action, with Jonathan telling off his father, feels awkwardly staged, even tortured, a quality exacerbated by Levitas’ weakness with dialogue.
  27. Decently acted despite screenplay shortcomings.
  28. A demolition derby starring some of the most expensive cars on Earth, Redline portrays a world so drenched in wealth it gives off a stench.

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