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 Being John Malkovich
Lowest review score: 0 Divorce: The Musical
Score distribution:
8,460 movie reviews
  1. The results are, well, formulaic, hobbled by weak dialogue and absent any sense of texture.
  2. Compacts nearly three years' worth of globe-trotting interviews into an often visually vibrant but rhetorically muddled package. So intent on giving (almost) every perspective a fair shake that it winds up saying little of consequence.
  3. Half formulaic and half simply unimaginative.
  4. A less-than-frothy domestic showdown starring Meg Ryan and Timothy Hutton, it owes as much to Edward Albee as to Nora Ephron, with an occasional nod to "A Clockwork Orange."
  5. The constant repetition of these shock tactics, in lieu of genuine suspense, makes The Wolfman feel cheap, despite the vast amounts obviously spent on Rick Heinrichs' opulent production design, the extensive visual effects, the more-than-effective special makeup effects, Milena Canonero's luxurious costumes, Danny Elfman's insistent score and the tony cast.
    • 27 Metascore
    • 40 Critic Score
    Chan struggles gamely to charm, but the picture's cartoonish jokes and misfired gags are likely to elicit more eye rolls than laughs.
  6. Stylistic overreach and neglect of the uninitiated make Until the Light Takes Us a too-specialized examination of Norway's black-metal movement and the aberrant culture surrounding it.
  7. It's certainly an unusual movie, aiming more often than not for pathos rather than pratfalls while nonetheless maintaining a slapstick tone, but it remains resolutely unmemorable.
  8. Marder, surely, was looking for a big bonanza at the end of Loot, but suspense and catharsis prove as elusive as two old men's memories.
  9. The fragrant aroma of magnolias is undercut by the distinct smell of mothballs throughoutThe Loss of a Teardrop Diamond, an admirably earnest but curiously flat attempt to film a long-unproduced scenario by Tennessee Williams.
  10. Pleasant enough overall, if also somewhat gratingly old-fashioned.
  11. On the debit side, and it's a doozy, the picture's narrative trajectory fails to deliver a third act that takes the story anywhere of note except into a silly realm of cut-rate surrealism. Final reel ends not with the expected bang but with an almost inaudible whimper.
  12. Don't be surprised if the movie's most wince-inducing moments come not from the "disturbing images" (as the MPAA describes the sight of a leg bone sticking six inches out of one character's ski pants) but rather of the bad acting and worse dialogue.
  13. There's precious little of that tension to be found between co-leads Bruce Willis and Tracy Morgan, but more than enough between director Kevin Smith and the shoddy script he's elected to take on, and neither seems willing to budge.
  14. 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.
  15. Comes off as a painfully old-fashioned, flatly directed exercise in passionless historical reenactment.
  16. 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.
  17. This appealingly cast movie seesaws from unlikely thoughtfulness to imbecilic vulgarity.
  18. A technically polished thriller marred by textbook filmmaking that grows increasingly dull as the plot wears on.
  19. Though the low-budget picture is not without interest, its uneven thesping, sound quality and special effects might prove more welcome on the fest fringe.
  20. A little less chatter and a little more splatter might have improved Godspeed, an initially intriguing but finally overwrought tale of murder, retribution and quasi-religious fanaticism set in the land of the midnight sun.
  21. This "Titans" reboot merely demonstrates that building a more elaborate mousetrap doesn't necessarily produce a more entertaining one.
  22. This moving but far from revelatory portrait of a beloved family figure registers as too slight and personal for significant theatrical play.
  23. While only the converted will likely see the redemption behind the manipulation, picture delivers a strong enough dose of spiritual saccharine to yield solid if not heavenly returns from its trusty target audience.
  24. It's an unabashedly corny but occasionally stirring dramedy based on the true-life story of scrappy young baseball players from Mexico who, in 1957, scored an improbable string of successes while playing their way from a Monterrey sandlot to the Little League World Series.
    • tbd Metascore
    • 40 Critic Score
    Despite uninspired dialogue and direction, newcomer Catanzariti impresses as the oddball finding her niche. But the show, such as it is, belongs to top-billed Castle-Hughes.
  25. The picture's biggest stumbling block is its superhero hook.
  26. This undistinguished picture qualifies as an endangered species. As a digital babysitter, however, it may prove sufficiently efficient to generate fair-to-middling homevid sales.
  27. A picture too simplistic and sentimental for art seekers and too rough for general audiences.
  28. Jose Rivera and Tim Sullivan's script relentlessly piles on goopy conversation-stoppers like "Do you believe in destiny?" and "I didn't know that true love had an expiration date."

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