Variety's Scores

For 8,200 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 1.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Ratatouille
Lowest review score: 0 Wrong Cops
Score distribution:
8,200 movie reviews
  1. The script unfortunately suffers from its own case of arrested development, barely getting out of the gate before stalling, and never building enough laughs or narrative impetus to justify feature length.
  2. A scattershot Southern melodrama that can't decide what it's supposed to be.
  3. "I had no conception of the depths of your emptiness!" a character shrieks in Bel Ami, and her words take on an unintended resonance as addressed to Robert Pattinson in the lead role.
  4. Director Baget clearly strives to replicate the ersatz Dixie flavors of "O Brother, Where Art Thou?" right down to the vintage '30s music in a film set in the 1970s, but nailing the Coen brothers' precisely calibrated style is far harder than it looks.
  5. The end of the world can't come fast enough in Seeking a Friend for the End of the World, a disastrously dull take on the disaster-movie formula.
  6. Instead of adding to the experience, the picture's ill-conceived twists amount to a severe miscalculation on Cortes' part.
  7. The jazz-scored picture relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings.
  8. 360
    With a multilingual cast of mostly unfamiliar faces, plus a few stars, 360 feels too abstract, orchestrating break-ups and hook-ups in a passionless vacuum.
  9. The French are smelly, vulgar, racist and oversexed, or so it would seem based on 2 Days in New York, a scattershot culture-clash comedy that goes down like yesterday's foie gras.
  10. This monotonously deadpan coming-of-age comedy has little to recommend it beyond some beautiful widescreen cinematography and the momentary kick of seeing David Duchovny looking like a stoned Jesus as Goat Man.
  11. Grief doesn't rate high among emotional states suited to high-octane presentation; hence the disconnect between excessive style and sober content in Burning Man, a feature-length montage posing as a serious drama about loss and anger.
  12. Watching people take their lives into their hands shouldn't be as tedious as Nitro Circus: The Movie 3D, which could be described as "Jackass" with a death wish (or "Wipeout" without the water).
  13. The Sweet Inspirations ranked as one of the most important backup singing groups in record-industry history, having performed with Aretha Franklin, Van Morrison, Dionne Warwick, Jimi Hendrix, Nina Simone, the Drifters, Wilson Pickett, Dusty Springfield and Elvis Presley. Yet, aside from an occasional still photograph, not a single frame of archival footage from their illustrious careers shows up in This Time.
  14. After a promisingly funny first half, this tale of three coke-snorting gal-pals trying not to screw up their friend's nuptials all but drowns in its own catty cynicism, turning as stingy with emotion and insight as it is with real laughs.
  15. As a director, Louiso operates within a narrow emotional range; while not as bleak as "Love Liza," the film feels similarly monotonous and desperately needs more dramatic fluctuation.
    • 55 Metascore
    • 40 Critic Score
    Geoffrey Rush and Judy Davis bookend a cast consisting of some of Oz's finest thesps, but Schepisi never gets a grip on a script with awkward literary tics.
  16. This messy amalgam of mysticism, romance, satire, social criticism and cartoonish f/x seems destined for discount DVD bins.
  17. A behind-the-scenes comedy about the making of a reality TV show, My Uncle Rafael looks suspiciously like an outright sitcom itself, with the same careful dosage of sententiousness and one-liners.
  18. A stale overprotective-dad story set within a location that could easily house a more inspired mix of characters and events.
  19. This muscular yet monotonous "Kane" just isn't much fun.
  20. That original was split between charms and minuses, suffering primarily from careless scripting. Here, those faults are indulged wholesale, with so little attention paid to overall narrative development or individual scene-shaping that the bloated pic often suggests a crowd-funded venture existing solely to pay back (and showcase) the crowd.
  21. Hands of stone meet heads of air in Here Comes the Boom, a sports story so daffy it may as well star Kevin James.
  22. 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.
  23. Less reliant on slow-burn suspense and larded with fake-out jump scares, this is the first sequel in the series that fails to advance the overall mythology in any meaningful way.
  24. This teen romance proves perilously short on substance, insight and novelty, unless you count its characters being afflicted with a case of "Juno" mouth.
  25. 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.
  26. Of course, questionable propriety would be a moot point if the film were consistently funny, but its hit-to-miss ratio is dire.
  27. Lacking much dramatic or intellectual stimulation, it's ultimately a limp effort.
  28. Standout perfs by Bernadette Peters as an aging diva and Rachel Brosnahan as her solicitous 15-year-old daughter are the only reasons to see Lisa Albright's Coming Up Roses, a tired '80s-set meller hobbled by lackluster helming and an unconvincing script.
  29. Complex story twists unfold to confusing effect, while characters angrily toss cliches at one another and revelations multiply rather than resolve murky plot developments.

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