Variety's Scores

For 8,562 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 The Arbor
Lowest review score: 0 Outta Time
Score distribution:
8,562 movie reviews
  1. A kiss may cure the monster, but not even campy performances from Mary-Kate Olsen and Neil Patrick Harris can save this ugly snarl of cliches.
  2. A painfully dull plunge into the suffocating self-absorption that seems to be killing modern romance.
  3. Mostly, this is the cinematic equivalent of a first-person shooter game, one where the Marines possess only slightly more personality than the faceless invaders.
  4. Intermittently enjoyable hokum at best.
  5. 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.
  6. Lacks focus, stumbling from one emotionally fraught stopping place to another but arousing less and less curiosity along the way.
  7. So lame that it barely gets a rise out of permanent erection jokes.
  8. Like Quentin Tarantino, Snyder is unapologetic about his influences -- the trashier the better -- though he's far less skilled in the art of pastiche.
  9. Neither scary, funny, nor anywhere near as clever as it seems to think it is, picture offers audiences few reasons to want to see it beyond its one-joke premise.
  10. With Cross jump-starting others on a liquid road to health, this glorified infomercial could saturate latenight TV after its April 1 bow.
  11. Despite a few grace notes and mildly clever twists, this handsomely produced indie is such a grating turnoff throughout its first third that its minor virtues may be discovered only by insomniac latenight cable viewers.
  12. Even the Brit-wit chemistry of Russell Brand and Helen Mirren can't offset the self-conscious degree to which this tame, calculated effort sticks to its source.
  13. Part one of a trilogy that may never see completion, this hasty, low-budget adaptation would have Ayn Rand spinning in her grave, considering how it violates the author's philosophy by allowing opportunists to exploit another's creative achievement -- in this case, hers.
  14. Think of it as the cinematic equivalent of a buzz-kill.
  15. The edge achieved by director-editor-producer-scribe Garth Donovan is jeopardized by overreaching for topical relevance.
  16. This offbeat effort proves more admirable for its ambition than anything else, as the uneasy mix of satire, allegory, grittiness and redemption never quite jells.
  17. With no emotional or stylistic hooks, there's not much compelling viewers to engage with what's happening onscreen.
  18. A sluggish, charmless misfire in which even the most appealing players -- must try too hard to make anything close to an engaging impression.
  19. Try as she might, Hudson can't turn Darcy into a three-dimensional character: She's astonishingly easy to dislike, but not nearly amusing enough in what could have been an unforgettable camp performance.
  20. A broad African-Amerian family comedy that manages to avoid many of the more predictable cliches of the genre, yet also leaves out the warmth and, too often, the laughs.
  21. A tone of fanciful absurdity is maintained throughout.
  22. The problem with the script by Susser and David Michod, working from a story by Brian Charles Frank, is that Hesher's uncouth behavior is so aggressively pushed to single-minded, crudely exploitative effect.
  23. Although there are moments when lead thesps Zach Braff ("Scrubs", "Garden State") and Isabelle Blais just about pull off the implausible conceit, the picture still suffers from major problems of tone as well as stilted camerawork and editing.
  24. Serves up a bland recycling of cliches and archetypes from just about every youth-skewing, dance-centric picture to hit the megaplexes since "Flashdance."
  25. An unremarkable documentary about Harper Lee and her single literary masterwork, Hey, Boo features what the French call a "structuring absence," that of Lee herself.
  26. Well-intended and informative, but also unfocused, unwieldy and a little smug, picture pales in comparison to the really first-rate films on the subject ("When the Levees Broke," "Trouble the Water").
    • 37 Metascore
    • 40 Critic Score
    Picture comes off as an exaggerated slapstick romp rather than the breezy, affecting tale of an 8-year-old tomboy it might have been.
  27. This ongoing improvisation, along with the completed passes and resulting chest-bumping celebrations or recriminations, serves to define these otherwise "ordinary" ciphers and lend shape and momentum to an otherwise plotless movie.
  28. There's a great deal of on-the-nose talk here about faith, rationality, sin and so forth. But Chapman's sincerity is undercut by the crudely melodramatic explanations of why his principals believe as they do.
  29. Duly offbeat without ever being very compelling in content or aesthetic.

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