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 Being John Malkovich
Lowest review score: 0 Divorce: The Musical
Score distribution:
8,460 movie reviews
  1. Unconvincing poser.
  2. The bad news, however, is that after an intriguing opening stretch, and despite Jeremy Irons' potent lead performance, the overlong film becomes repetitive, flat and often dull.
  3. A staggeringly flat sequel that trades filmdom for the music bizbiz and could hardly be less cool.
  4. An innocuous abduction of viewers' time, if nothing else, King's Ransom is an appealingly cast but terminally bland farce.
  5. Offers plenty of splat with its slapstick. But this strenuous zombie yukfest is no more sophisticated than its nail-on-head title -- making it a joke no smarter than the movies it riffs on.
  6. Too underground in feel.
  7. The execution is so amateurish and the script so witless the filmmakers appear to be having a far better time than the audience.
  8. Shrill, undermotivated, feature-length catfight.
  9. Rude, crude and, uh, cosmopolitan, Deuce Bigalow: European Gigolo waves the flag for R-rated politically incorrect studio comedy but doesn't top the laugh ratio of the first Deuce misadventure.
  10. An insufferable, self-conscious cult movie, The Chumscrubber smugly heaps on half-baked ideas about media violence, the homogeneity of suburbia and the disintegration of the American family.
  11. Cronenberg is a master of creating and sustaining a mood of insinuating cool and dark allure, but while the director remains firmly behind the wheel for the first hour or so, he cracks up toward the end with sequences that send the film and the audience into a ditch.
  12. A preposterously convoluted and exasperatingly sappy saga.
  13. A dispiritingly lazy high school comedy.
  14. A perfect example of the sad trend in contempo Latin American filmmaking to imitate old Tarantino with only a fraction of the stylistic cojones, frantic comedy dealing with two pairs of confused guys and one pair of kidnap victims is an empty exercise that loses its juice before first reel's end.
  15. So far-fetched as to make "Kindergarten Cop" look comparatively austere.
    • 11 Metascore
    • 30 Critic Score
    Pic consists largely of choppily edited fight scenes (usually involving somersaults and back flips) combined with various computer graphic effects.
  16. Well made but unlikable and dramatically absurd picture.
  17. Resting almost entirely on the shoulders of its young leads, both they and the pic lack the sparkle to sustain what seeks to be a whimsical premise but, except for a few moments, proves ponderous instead.
  18. John Travolta's charismatic screen presence is the only element that propels Michael over its rough narrative spots and scattered direction.
  19. Wallow in Hollywood hipster self-absorption.
  20. A blue chip cast is wasted in the painfully unfunny ensemble comedy Niagara Motel.
  21. Painfully sincere yet hopelessly amateurish dramedy.
  22. Japanese horror doesn't get more tedious.
  23. Shrouded by memories of better times and better movies, Frank Gorshin and Rodney Dangerfield's final screen appearances are unfortunately in the thoroughly hapless and embarrassing comedy, Angels With Angles.
  24. This is one of those high-concept pictures with a big windup and weak delivery.
  25. So episodic and flat it should be a letdown even to those amused by the original.
    • 25 Metascore
    • 30 Critic Score
    The picture that will test the durability of Leslie Nielsen's lowbrow franchise -- and proves the talent of the regrettably absent Zucker brothers-Jim Abrahams team --Spy Hard sticks so closely to the "Naked Gun" formula that one half-expects an O.J. Simpson cameo.
  26. Though it's decidedly for perverse palates, some kind of cult audience seems assured for this one-note onslaught, which exercises a bizarre fascination despite its excesses.
    • 15 Metascore
    • 30 Critic Score
    Arthur Hiller's pacing is crude, but that seems to be the point.
  27. The story of a veritable devil who comes to test and destroy a family of faith, The King is a noxious film morally and an aggravating one dramatically.

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