Variety's Scores

For 7,983 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 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Kill Bill: Vol. 2
Lowest review score: 0 Wrong Cops
Score distribution:
7,983 movie reviews
  1. Tedious enough to serve as a cautionary example of the pitfalls of DIY filmmaking.
  2. Movie stars may be less valued than they used to be, but it's still puzzling to see Tom Hanks and Julia Roberts stuck in a romantic comedy as flat-footed and tone deaf as Larry Crowne.
  3. Reveling in its provocative absurdity, Impolex is a madly uncommercial head-scratcher that will strike a dream-logic chord in some viewers and leave others in a "My kid could do better than that" mood.
  4. More boring than stomach-churning, the film nevertheless contains scattered scenes and sequences so far beyond the tolerance of the squeamish that it can't be overstated.
    • 17 Metascore
    • 20 Critic Score
    Verily, this Scott Marshall-helmed production has several nutjob supporting performances that almost rescue its hackneyed plot, but there's not enough consistent madness to keep the film from what will be a fleeting theatrical career, followed by entombment on homevid.
    • 30 Metascore
    • 20 Critic Score
    Picture operates on the notion that indiscriminate action in service of a formulaic script will keep audiences clutching their armrests, but the results fail to grip.
  5. An only fitfully convincing Hudson leads a strong-on-paper cast, but most of the actors look uncomfortable here, particularly Gael Garcia Bernal as her love interest.
    • 57 Metascore
    • 20 Critic Score
    Though never known for their subtlety, French co-helmers/scripters Eric Toledano and Olivier Nakache have never delivered a film as offensive as "Untouchable," which flings about the kind of Uncle Tom racism one hopes has permanently exited American screens.
  6. This enervating muddle of paranormal nonsense manages the difficult feat of seeming frenzied and lethargic all at once, while building toward the sort of ludicrous cop-out climax that often incites die-hard genre fans to shout rude things at the screen.
  7. A catchy but irrelevant title is the first of many problems with Excuse Me for Living, which throws together a lot of superficially flashy elements that never gel in any organic way.
  8. The cross-dressing "Madea" star seems out of his depth playing the hard-boiled detective made famous by Morgan Freeman in "Along Came a Spider" and "Kiss the Girls." Even action helmer Rob Cohen ("The Fast and the Furious," "XXX") seems to be off his game here.
  9. A cheaper, cheesier sequel that's worse than its predecessor on every level (save being a half-hour shorter) and takes no special advantage of the stereoscopic process.
  10. If nonchalance were an Olympic sport, Max would be a gold medalist, and watching Somebody Up There Likes Me is about as much fun as being a spectator at that event might sound.
    • 35 Metascore
    • 20 Critic Score
    Xanadu is truly a stupendously bad film whose only salvage is the music.
  11. Results are simple-minded at best, contemptible at worst; most audiences would rather watch anything else.
  12. As Scandi directors go, Niels Arden Oplev couldn’t be hotter. After putting his stamp on “The Girl With the Dragon Tattoo,” the Dane has what appears to be his pick of projects. So why follow it up with such revenge-fantasy dreck as Dead Man Down, a derivative collection of brazen plot holes and latenight-cable cliches into which he drags “Dragon” star Noomi Rapace?
    • 36 Metascore
    • 20 Critic Score
    This update-cum-ripoff might be aiming for witty and romantic, but it’s mostly a hollow, rambling effort leavened with some stargazing.
    • 22 Metascore
    • 20 Critic Score
    The earlier films in the series were far from perfect, but at their best they had some flair and agreeable humor, qualities this one sorely lacks. Hackman gets a few laughs, but has less to work with than before, and everyone else seems to be just going through the motions and having less fun doing so.
  13. What this juvenile adventure has in spades is special effects and picturesque locations. What it lacks is an emotional link to make the Saturday afternoon he-man posturing palatable, or at least bearable.
  14. Even a premise this stupidly contrived stands a fair chance of working if there are a few decent yuks to be had, but absent any such inspiration, We’re the Millers falls back on the sort of lazy but desperate, sexually fixated non sequiturs that have become de rigueur in studio comedies, jabbing repeatedly at the human groin in hopes of eventually hitting something funny.
  15. A sci-fi confection that, at best, momentarily recalls the dystopian whimsy of the director’s best-loved effort, “Brazil,” but ends up dissolving into a muddle of unfunny jokes and half-baked ideas, all served up with that painful, herky-jerky Gilliam rhythm.
  16. Transforms the glory days of Hilly Kristal’s Bowery punk/No Wave club into exactly the sort of moldy sitcom one might expect from writer-director Randall Miller.
  17. An aggressively obnoxious tone undermines a decent concept and appealing cast.
  18. This sloppy, button-pushing black comedy reveals a crew desperately in need of counseling — less in anger management than in the fundamentals of screenwriting, camerawork and structure.
  19. While every moment is captured with the reverence of a fawning fan, Holwerda’s star-struck approach neglects to shed new light on his subjects or even showcase their greatest hits.
  20. There doesn’t appear to be any purpose at all to the random exchanges and interactions that pass for a plot.
  21. [A] stunningly joke-free comedy-horror hybrid.
  22. Hopelessly stagebound, despite halfhearted efforts to open up what’s basically a talky two-hander, and risibly pretentious in the manner of soft-core porn that’s no sexier than glossy ads for expensive perfume.
  23. A partly authentic, partly scripted behind-the-scenes featurette that never quite conveys the star’s “high/curious” interest in all things taboo.
  24. Raze is a brutally monotonous fight-to-the-death-contest actioner whose novelty element — all-female competitors — is undermined by lack of imagination on every other level.

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