Variety's Scores

For 10,611 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Blackfish
Lowest review score: 0 Bio-Dome
Score distribution:
10611 movie reviews
  1. This documentary plays like an extended episode of “Unsolved Mysteries,” deficient as it is in stylistic zeal, investigative spirit and plain old scares.
  2. It is the presence of Duncan as a Mike Tyson-esque, malaprop-spouting ex-champion that, at least momentarily, lifts the pic out of its mediocrity.
  3. May find a following among those who stand in awe of the names Sandler, Ferrell and Spade. But Showalter pushes too far: Nerdiness, after all, can be only so attractive.
  4. None is particularly original (though there is one good final twist), but they’re all reasonably entertaining.
  5. The material itself has a formulaic solo-bioplay rhythm neither performer nor director can fully elude.
  6. This ostensibly wild-and-crazy romp plays things too close to the book to feel genuinely wild or crazy.
  7. Shows the sort of edge in places that will be appreciated by horror fanboys of all ages, but is mostly too overwrought and over-the-top.
  8. Well-crafted picture has a nice sense of place and rudderless youth, though in the end, simply too little happens for the story to have much resonance.
  9. The story rarely gets fired up to "maximum thrust," to use the rocket-speed parlance of its heroes.
  10. Either a subtly subversive black comedy, a deeply spiritual portrait of physical rebirth or a whole lot of nothing in a self-consciously arty package, Lourdes isn't about to reveal its true colors anytime soon.
  11. In the film’s richest performance, Plemons beautifully teases out the ambiguities and potential hypocrisies of Landis’ own moral position, tracing Armstrong’s slippery downward spiral almost in spite of himself.
  12. Refigured from a never-made TV pilot, this shallow boarding school-set coming-of-ager traverses familiar territory without offering anything fresh.
  13. It's less substantial than cotton candy, but Material Girls is as slickly produced as one of the Marchetta TV spots.
  14. Tolerable, but not handsome enough to tempt substantial audiences, Pride and Prejudice and Zombies is in fact a moderately entertaining film, not deficient in old-fashioned costume drama when it pleases, nor in the power of being clever where it chooses, but awkward and unsatisfying.
  15. Mildly amusing result, with plenty of slack in its 100 minutes, should work OK with its target audience of female Brit tweenies, who won't notice the pic's shoddy technical package, sloppy direction and the way the original films' antiestablishment tone has morphed into a celebration of dumbed-down "yoof" culture.
  16. This unabashedly derivative, vaguely post-apocalyptic riff on well-worn '80s-movie tropes plays its boilerplate premise with endearing earnestness, but runs thin in no time.
  17. The Barber is a slick but ultimately underwhelming psychochiller.
  18. The ensemble labors sincerely to bring Nelson’s dense, frequently didactic writing to life, though it can be a hard task.
  19. Schumacher takes a step in the right direction with Flawless, a small-scale, intimate serio-comedy.
  20. Though never intended to match "The Road" for gruesome veracity or Michael Haneke's "Time of the Wolf" for full-on mysterious dread, this Irish production doesn't cut much of its own niche in an overworked genre.
  21. Aside from spasms of brutal violence, however, there's nothing rousing or new here.
  22. Winning performances by a number of fresh-faced newcomers are almost but not quite enough to recommend The Secret Lives of Dorks, a fitfully amusing, more often shrill and overstated teen comedy that, like its dweeby protagonist, tries too hard to impress.
  23. Deeply felt but dramatically unconvincing "fictional documentary" -- inspired by the March 2006 rape and killings by U.S. troops in Mahmoudiya, south of Baghdad -- has almost nothing new to say about the Iraq situation and can't make up its mind about how to package its anger in an alternative cinematic form.
    • 57 Metascore
    • 50 Critic Score
    In spite of a script hobbled with cloying aphorisms and shameless sentimentality, Field of Dreams sustains a dreamy mood in which the idea of baseball is distilled to its purest essence.
  24. The rush of watching images made in such rare locales as Andorra and Sao Tome quickly wears thin as the montage whips through considerably meaty topics (water issues, climate change, immigration, religious faith) like an impatient Web surfer.
  25. Maria Sole Tognazzi’s ultra-sedate romantic comedy A Five Star Life is full of aesthetic sophistication and luxurious ambiance, but its pleasures are all secondhand, and the whole endeavor is too starved of incident to really stick in the memory.
  26. Again co-written by and co-starring writer-thesp Richard Debuisne, picture has some of the duo's trademark sharp dialogue but again fails to fully come together on a narrative level.
  27. It's an instantly disposable and shamelessly derivative piece of work -- call it petit guignol, and you won't be far off the mark -- but first-time feature helmer Jonathan Liebesman shows a savvy flair for atmospheric visuals.
  28. A frankly formulaic but agreeably funny comedy about has-beens, wannabes and never-weres.
  29. Functional if thoroughly uninspired movie. Because it clings to the comedy-action template of "48 Hrs.," pic feels like it could have been made 15 years ago.

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