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 Bloody Sunday
Lowest review score: 0 Rollerball
Score distribution:
8,460 movie reviews
  1. Stanton has been given the resources to create an expansive, expensive world, but lacks the instincts to direct live-action, a limitation that shows most in the performances. Bare of chest and fair of feature, Kitsch doesn't exhibit enough charisma to carry a project of this scale.
  2. The Raven is a squawking, silly picture that never takes flight.
  3. Scripter Lund, himself an ex-teacher, delivers a story that lacks nuance, and mixes badly with Kaye's impatient edits, Dutch angles and extreme close-ups.
  4. Tautou is fine but clearly typecast as another whimsical pixie with strong melancholy undercurrents.
  5. Mannion's script goes a bit too far in terms of twists, capping the third-act suspense with a plot U-turn, and then another, that leaves audiences feeling played. Worse, the final development loses credibility in retrospect, reducing the film to the level of an exercise in paranoia, effects and one actor's ability to hold attention for nearly 90 minutes.
  6. This would-be inspirational picture has its heart in the right place, but with default-setting characters, loudly telegraphed emotional beats and lack of any real sizzle to enliven its maudlin moralizing, it all feels like a cursory run through a well-trodden routine.
  7. One can guess how the elements here might have been alluring on the page, but helmer/co-scenarist Michael Knowles' third feature doesn't find the distinctive tone needed to make its eccentric characters less than irksome and its plot more than arbitrary.
  8. Some of Weiss' funniest material gets lost between episodes of outright silliness; to paraphrase Mark Twain's assessment of Richard Wagner, the film is smarter than it looks.
  9. Poised between revisionist fairy tale and smirking sendup, this gaudy, over-frosted cream puff of a movie half-heartedly positions its famous heroine as a dagger-wielding proto-feminist, yet ultimately suffers the same fatal flaw as Julia Roberts' evil queen: It doesn't really care about anything except how pretty it looks.
  10. This South Los Angeles-set dramedy flirts with terminal stereotypes and high-school movie cliches right and left.
  11. While it's poignant seeing the whole gang again, the tired gross-out antics and limp romantic reprisals keep this hapless if heartfelt effort from qualifying as a decent comedy, let alone a generational classic.
  12. The film is ultimately an untenable muddle.
  13. While the world could certainly use more films about characters entering their sunset years, a solution as toothless and saggy as Julie Gavras' Late Bloomers does little to help the cause.
  14. Although helmer Curt Hahn champions the causes of racial justice and crusading journalism, he can't seem to find a tone that's consistent or that befits the gravity of his subject matter.
  15. While the result deserves some credit for finding a creative way to bring the book to life, the overlapping storylines simply aren't compelling enough, despite the best efforts of a game and attractive cast.
  16. ATM
    Seems assembled from autopilot thriller material, with most of the dull dialogue devoted to plugging potential plot holes rather than anything resembling logic.
  17. The body count runs high at Brangwyn boarding school, but tension, surprise and viewer interest are the real casualties in The Moth Diaries.
  18. When a novel gives you soapsuds and washboard abs to work with, what other choice does a director have but to provide the most aesthetically pleasing actors, scenery and sets to disguise the thinness of the underlying material.
  19. A typically smart performance by Juliette Binoche isn't enough to keep Elles from drowning in pseudo-intellectual pretension and general banality.
  20. 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.
  21. A scattershot Southern melodrama that can't decide what it's supposed to be.
  22. "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.
  23. 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.
  24. 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.
  25. Instead of adding to the experience, the picture's ill-conceived twists amount to a severe miscalculation on Cortes' part.
  26. The jazz-scored picture relies heavily on quirkiness to round out shaky characterizations and inject interest into otherwise forgettable pairings.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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