Variety's Scores

For 8,916 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 1.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Listen to Me Marlon
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
8,916 movie reviews
  1. Some viewers may feel as though, instead of watching a feature, they're paging through a book of rough sketches by a deranged Disney alumnus.
  2. Extravagant but exhausting...this over-the-top oater delivers all the energy and spectacle audiences have come to expect from a Jerry Bruckheimer production, but sucks out the fun in the process,
    • 54 Metascore
    • 40 Critic Score
    Despite its intermittently amusing dialog, however, Deathtrap comes across as a minor entertainment, cleverness of which cannot conceal its essential artificiality when blown up on the big screen.
  3. Last Love sticks to a flaccid middle ground lacking any real drama or pathos.
  4. An unfunny, manipulative romance about two unlikable people and their prop of a son, the pic mangles the premise of its source material ("Baster," a 1996 short story by Pulitzer-winning novelist Jeffrey Eugenides) in ways that ought to baffle viewers of all sociopolitical stripes.
  5. A listless romantic comedy that, almost out of desperation, turns a little more violent than necessary near the end.
  6. 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.
  7. Chekhov has never seemed such a long haul as in this awkward adaptation of The Cherry Orchard by veteran director Michael Cacoyannis, 77, who's assembled a good roster of names but ones that are not necessarily right for their roles.
  8. It’s difficult to get past the film’s restless, ill-fittingly bombastic style.
  9. A dignified second film for Caetano.
  10. Director Renny Harlin has unfortunately adopted a let's-try-anything attitude that translates into a chaotic and unattractive visual style.
  11. Emerges as the most conventional and least imaginative of the recent crop of high-class fright movies that includes "The Others," "Session 9" and "Wendigo."
  12. Even the resourceful, likable Reynolds is at a loss to elevate this rather dreary piece of would-be escapism, which calls out for the wry, pulpy touch of a John Carpenter (or his acolyte David Twohy) and instead gets the strained self-seriousness of director Tarsem Singh.
  13. A model of cohesion and clarity as long as it's dealing with Brown's exemplary public achievements. However, pic quickly becomes mired in tedium and confusion when it turns to Brown's scandal-ridden private life.
  14. A bland, perverse round-robin of teen angst.
    • 44 Metascore
    • 40 Critic Score
    A mostly slick, intelligent psychological thriller/modern morality tale flawed by occasional lapses of subtlety and a central performance that veers just to the wrong side of empathetic.
  15. The story is undoubtedly weird, but perhaps more so on paper than on the screen, since Russell and his actors have played it mostly straight in attempting to confer psychological validity on all the untoward developments.
  16. An instantly forgettable trifle.
  17. Like a beautifully tailored suit that starts to smell funny after a few minutes, this sumptuous but stultifying lark sets up a quasi-Hitchcockian intrigue between two strangers abroad, but smothers any thrills or sparks in a haze of self-regard.
  18. There are intriguing, half-formed ideas afoot in Transcendence, but the script and Pfister’s heavy, humorless direction tend to reduce everything to simplistic standoffs between good and evil.
  19. The "Hostel" similarities may strike some as too close for comfort, not only in plot outline but also in general mix of xenophobia, sexploitation, sadism and gore.
  20. Pic relies on nerdy world-weary irony to carry the day, but doesn't convincingly draw its characters.
  21. Both subscribes to and somewhat departs from the bare-bones improvisational formula established by the mumblecore movement, sometimes sacrificing ambiguity for the sake of broader, telegraphed, one-note laughs.
  22. Menacing atmosphere created by Dutch helmer Paula van der Oest ("Zus & Zo") does not make up for the weak script's multiple improbabilities, flat dialogue or the discomfort of watching children, the handicapped and even animals being abused onscreen.
  23. Brit filmmaker Sue Clayton's muddled feature bow is full of intriguing ideas and incidental charms that fail to come together into a cohesive whole.
  24. Amounts to a giant cry of "Americans, get engaged!" wrapped in a star-heavy discourse that uses a lot of words to say nothing new.
  25. 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.
  26. Every bit as cliched as it sounds, picture offers a dramatically crude, overly familiar take on the bad-boy-turned-good story. At its best, it offers young thesps E.J. Bonilla and Veronica Diaz-Carranza a showcase for their range.
  27. Manages to misfire in two seemingly incompatible directions. A puerile kiddie-comedy without the anarchic energy, and a schmaltzy romantic comedy without the sweetness.
  28. Arguably the finest athlete in living memory deserves better than Michael Jordan to the Max, an honorific but unmoving portrait of the Chicago Bulls' No. 23.

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