Variety's Scores

For 8,460 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 Wings of Desire
Lowest review score: 0 Reasonable Doubt
Score distribution:
8,460 movie reviews
  1. This PG-rated offering thus dances along a fine line -- one that suggests a shelf-life well short of its "I wanna live forever" anthem.
  2. Teasingly enjoyable rubbish through the first hour, Orphan becomes genuine trash during its protracted second half.
  3. A zombie flick sans bite.
  4. Nowhere near as much fun as its title, playing out like an unusually obtuse episode of "The Wire."
  5. A mildly amusing trifle with one of the genre's dafter plot twists.
  6. A plodding mediocrity with an almost mercenary adherence to formula.
  7. While foreign viewers are apt to focus on the action, native English speakers can't help but notice the sheer awkwardness of the performances.
  8. Those involved got to spend weeks at a Bora Bora luxury resort; all we get is this not lousy but unmemorable tropical-vacation comedy.
  9. Except for the physical aspects of this bleak odyssey by a father and son through a post-apocalyptic landscape, this long-delayed production falls dispiritingly short on every front.
  10. As fiction characters go, Ryden seems as dull as they come, making it hard to muster much sympathy for her plight.
  11. Competent but unimaginative horror entry.
  12. Jeff Daniels' gleeful misanthropy and Lauren Graham's emotional openness are poorly served by the pic's transparently phony story and therapeutic uplift
  13. Arriving on the heels of America's torture-porn wave, Deadgirl takes a disturbing adolescent male fantasy and glosses it up just enough to pass for a legitimate horror movie.
  14. With "Shampoo" and "American Gigolo" now distant memories, the time evidently seemed ripe for another Hollywood stud movie. Despite Ashton Kutcher’s believability as an older woman’s kept boy, Spread isn’t a patch on those previous films.
  15. A relatively unimaginative take on the proceedings, coupled with occasionally bizarre stereoscopic work and awkward narration, causes the picture to bail out more often than it soars.
  16. This high school horror romp tackles its bad-girl-gone-really-bad premise with eye-rolling obviousness and, fatally, a near-total absence of real scares.
  17. A film so frighteningly familiar it could well be called "Saw It Already."
  18. Seemingly made to capitalize on a dubious CG innovation -- namely, the slicing of bodies in half by whizzing five-pointed stars -- Ninja Assassin has little else to recommend it, not even laughs.
  19. The picture's attempts at comic portraiture feel sketchy at best, more or less assigning each character a single, belabored trait.
  20. The Vampire's Assistant is too busy making impossible claims about just how spectacular its sequels will be to serve up a self-contained story with a satisfying finale.
  21. Jackson undermines solid work from a good cast with show-offy celestial evocations that severely disrupt the emotional connections with the characters.
  22. Cute and clever though the plot may be, everything is played out in the broadest possible terms without an iota of nuance or subtlety.
  23. Even the most gullible auds will be challenged to buy into the picture, billed as "based on the actual case studies" and, in any case, rendered rather boring by writer-director Olatunde Osunsanmi ("The Cavern").
  24. Napoleon Dynamite seems perfectly well-adjusted (not to mention downright charismatic) compared to homeschooled mama's boy Benjamin Purvis in Gentlemen Broncos, the latest oddball character portrait from one-trick helmer Jared Hess.
  25. It's a very academic movie about academics that belongs in academia, not movie theaters.
  26. Unsettles without illuminating, marred by narcotic pacing and a blank lead performance.
  27. There's scarcely a boxing-movie cliche left unrecycled by the end of From Mexico With Love, an inaptly titled and thoroughly predictable indie drama directed by vet stunt coordinator and fight choreographer Jimmy Nickerson.
  28. Eating Out: All You Can Eat somewhat departs from the series' gay spin on the raunchy teen sex comedy in favor of semi-sincere romantic comedy -- after a crass and abysmal first stretch, that is.
  29. Sentimental and a bit too cute in evoking a child's-eye view, the picture, nevertheless will please its target Jewish auds.
  30. The results are, well, formulaic, hobbled by weak dialogue and absent any sense of texture.

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