Variety's Scores

For 10,257 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Django Unchained
Lowest review score: 0 Showgirls
Score distribution:
10257 movie reviews
  1. Even when judged by the standards of broad farce, however, Expecting repeatedly strains credibility and defies logic in ways too glaring to ignore.
  2. As generic as its title.
  3. Picture aims for nonstop thrill ride, but for all its brainless brawn, it has plenty of stops and few real thrills.
  4. The wallpaper emotes more than Ryan Gosling does in Only God Forgives, an exercise in supreme style and minimal substance.
  5. Any message about the need for open-mindedness in life and love, however, is muddled by a slapdash plot that ultimately cares less about taking a stand in favor of progressive values than it does in superficially employing such feel-good ideas for unimaginative, hyperactive adolescent slapstick.
  6. The result is unquestionably an auteur film, but one festooned with so many bad and unnecessary ideas that one can’t help wondering if a more modest, hemmed-in version of the same project might not have proved more effective.
  7. Milkshake sucks all the flavor out of a tasty premise.
  8. It takes at least a sliver of human interest to make a noir pastiche more than the sum of its influences, and anything resembling authentic feeling has been neatly airbrushed away from this movie’s synthetic surface.
  9. Little more than a slipshod, trashy, sometimes exploitative thriller.
  10. The key to Seuss' tales, as with all good fables, is not only their cleverness but their surpassing elegance and simplicity, qualities that this busy, over-cluttered contraption of a movie seems entirely uninterested in replicating.
  11. Unfortunately, with its unconvincing action, preachy script and flat performances, the picture winds up less moving than most typical journeyman documentaries on the subject.
  12. The dramatic trajectory is frightfully obvious, the characters tediously one-dimensional, the dialogue banal.
  13. Will Wallace's turgid indie tells an earthbound and anemic story about an orphan's progress in small-town Texas.
  14. Miss March is overall a raggedy, unfocused affair that wastes both directors' acting talent and feels like too much work between the laughs.
  15. Its humor and sentimentality equally labored, this by-the-numbers picture will look better, albeit still not good, as a latenight cable or streaming time-killer.
  16. More soap opera than high drama, the film is confused and confusing, and tedious to boot.
  17. Her (Wauer) attempt to relieve uncomfortable events with happy stories makes for a disturbing superficiality, and a "make your own Jewish grave" student project is plain offensive. Score is omnipresent and insufferable.
  18. Emerges as an oddly sour, unappealing road-trip scenario.
  19. Nine very good actors are wasted, if not embarrassed, by the thoroughly unconvincing shenanigans perpetrated by first-time writer-director Michael Clancy, while a tenth -- Zooey Deschanel -- somehow manages to float ethereally above it all with her dignity intact.
  20. The tension rarely rises above a low boil.
  21. Jared Leto gained some 70 pounds. Seemingly following his lead, the pic itself is heavy, lethargic, and exasperating.
    • 45 Metascore
    • 30 Critic Score
    While plot elements don't add up, film's energy level remains high, and oddball ensemble brings to mind a classic of this type, Jonathan Demme's "Citizens Band."
  22. Be prepared to laugh less at a lot more of the same thing in this overbearing but underwhelming sequel.
  23. Nonsense, hysterics and many cuppas spill in Caffeine, an ensembler that serves up a menu's worth of forced and trite situations.
  24. The Pact 2 simply stretches out rather than elaborating on its predecessor’s already thin premise, creating holes that are poorly patched over with false scares and unconvincing character behavior.
  25. In its shape and sheen, Fathers and Daughters seems dated even before Michael Bolton surfaces to cough up a gelatinous closing-credits ballad.
  26. Director Argento half-heartedly mixes schlocky 3D f/x with one-dimensional characters for a near-two-hour joke that ought to have been funnier.
  27. If outrageous concepts were all, this latest fillip in the oft-eccentric history of Japanese "pink" (softcore sexploitation) cinema would be genius. But the crazy ideas in Takao Nakano's script just fitfully amuse under Mitsuru Meike's draggy direction.
  28. As is, the emotional elements explored by Cost of a Soul, and the devices it employs, seem trite and occasionally shoplifted from better-told tales.
  29. Strictly for the birds.

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