Variety's Scores

For 8,651 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 1.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Patton
Lowest review score: 0 Freddy Got Fingered
Score distribution:
8,651 movie reviews
  1. 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.
  2. Repetitive and needlessly prolonged tale does build to an inspired final scene, but it's too little, too late.
  3. An exercise in bad taste that takes itself just seriously enough to be offensive.
  4. 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.
  5. Decently acted despite screenplay shortcomings.
  6. 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.
  7. As the years go by and the kids grow — perhaps the only real benefit of Winterbottom’s approach — time begins to run together, making it all too easy for the mind to wander.
  8. The film toys with audience expectations and perceptions by playing fast and loose with circumstances and clues, while leading to an almost unavoidable and dismayingly obvious conclusion.
  9. Bland, canned but studiously professional sequel retains most of the principals from Fox's family-friendly 2003 hit, including the ever-reliable Steve Martin and Bonnie Hunt.
  10. This anything-goes exercise isn't dull -- one just wishes the outrageousness were more consistently funny.
  11. Unable or unwilling to match the visceral chops and moral provocations of superior serial-killer chillers, Righteous Kill is content to be a twisty genre exercise; it's like "Seven" as reimagined by M. Night Shyamalan.
  12. The edge achieved by director-editor-producer-scribe Garth Donovan is jeopardized by overreaching for topical relevance.
  13. Firth and Blunt make a strange couple, and Ariola a musicvideo helmer making his feature debut, should have devoted more time to making the chemistry work than to sustaining the melancholy mood.
  14. Story is incidental here, as auds merely anticipate the scares.
  15. The Hudsucker Proxy is no doubt one of the most inspired and technically stunning pastiches of old Hollywood pictures ever to come out of the New Hollywood. But a pastiche it remains, as nearly everything in the Coen brothers' latest and biggest film seems like a wizardly but artificial synthesis, leaving a hole in the middle where some emotion and humanity should be.
    • 38 Metascore
    • 40 Critic Score
    All of the top talent involved - especially Gene Hackman - is hardly needed to make Uncommon Valor what it is, a very common action picture.
  16. Rather than presenting a well-argued expose of the disturbing symbiosis that exists between Italo politics and TV, with Prime Minister Berlusconi being only the most obvious connection, the scribe-helmer gets sidetracked by marginal characters while keeping bare facts to a minimum.
  17. For most part, The Perfect Man is too bland to merit anything more censorious than a stifled yawn.
  18. Its provocative subject matter, though seriously treated, qualifies it as a dark-horse candidate for latenight cable.
  19. A noisy, soulless, self-conscious pastiche that mixes elements of sci-fi, action-adventure and romance, then pours on a layer of comedy replete with Hollywood in-jokes.
    • Variety
  20. A film so frighteningly familiar it could well be called "Saw It Already."
  21. The results are, well, formulaic, hobbled by weak dialogue and absent any sense of texture.
  22. Once it’s evident that there’s hardly a point to all the random mischief — or that the point is precisely that there isn’t one — the idea of watching a pair of grown men inflect violence upon innocent bystanders feels awfully tedious
  23. A textbook example of the charm-free ephemera dumped by studios during the waning days of summer.
  24. A fiery, convoluted finale fails to deliver any satisfying payoff.
  25. The spirit of the late Federico Fellini -- with whom Benigni talked of doing the project together -- surfaces repeatedly. But that spirit fails to enliven a film substantially lacking in personality, energy, magic and humor.
  26. This dire battle-of-the-exes action-comedy severely tests audience goodwill by running an indulgent 110 minutes, crammed as it is with half-baked thriller subplots and aimless supporting characters, as if to distract from the central duo's nonstop bickering.
  27. 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.
  28. Alan White’s polished but pedestrian pic mines little real suspense and few surprises from a formulaic script.

Top Trailers