Variety's Scores

For 8,829 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 The Assassin
Lowest review score: 0 Bio-Dome
Score distribution:
8,829 movie reviews
    • 62 Metascore
    • 30 Critic Score
    Does director John Hughes really believe, as he writes here, that 'when you grow up, your heart dies.' It may. But not unless the brain has already started to rot with films like this.
  1. Lee and Protosevich have made a picture that, although several shades edgier than the average Hollywood thriller, feels content to shadow its predecessor’s every move while falling short of its unhinged, balls-out delirium.
  2. Simply fuzzy filmmaking of the worst sort.
  3. Like a school pageant with a Broadway-sized budget, this noisy production is a pileup of extravagant dance numbers, candy-colored sets and vintage props that, sans the requisite heart or hip factor, soon overstays its welcome.
  4. Leaves nothing to the imagination: Michael Myers is always right there in plain sight, committing mayhem sans suspenseful buildup or mystique.
  5. Lutz’s acting muscles aren’t nearly as well developed as his pectorals and deltoids, and while the role may not call for a master thespian, it at least begs someone who can emote without looking like he’s straining to execute a dead lift.
  6. An innocuous abduction of viewers' time, if nothing else, King's Ransom is an appealingly cast but terminally bland farce.
  7. At times plays as if it were aimed at children, but more often simply seems to be aiming blind at whatever genre cliche the five credited writers fix upon in any given scene.
  8. The script is nearly all dialogue, including several eloquent spoken passages toward the end, but it’s a lousy story, ineptly constructed and rendered far too difficult to follow.
  9. Garden of Eden sends sleek, half-nude bodies glumly cavorting through lush Riviera landscapes in a paradigm of unintentional camp.
  10. A quasi-metaphysical revenge Western that remains as elusive as a distant mirage on a long, dusty trail.
    • 26 Metascore
    • 30 Critic Score
    Jastrow is a longtime helmer of PGA events, and as expert at choosing just the right camera angle for his shots on the course as he is apparently confounded over fashioning believable dialogue or characters.
  11. Facile, formulaic and utterly charm-free.
  12. In this shoestring outing, Susan Streitfeld ("Female Perversions") opts for an unsettling mix of low-tech cinematic tricks and temporal reshufflings to simulate the process of enlightenment to sometimes laudable, usually ludicrous effect.
  13. The disparate tones never gel, and the movie has an airless, stop-and-go feel, as if a studio-audience laugh track were intended but never inserted.
  14. The best miracles are those that creep up on you unexpectedly rather than endlessly announcing themselves, and the ones in Winter’s Tale are fatally obvious and self-congratulatory.
  15. Starts intriguingly but ends up thrashing around as a toothless wonder.
  16. A shrill, mechanical comedy.
  17. Pic's complete lack of cinematic verve, along with bland tech work, do much to drain the juice out of what should have been a fierce, fun battle of the sexes.
  18. The submarine goes deep but the story never does in U-571, a good old-fashioned WWII picture that is exciting in only the most superficial way.
  19. Costner's earnest performance is a major plus for Dragonfly, keeping the picture grounded in some semblance of reality even as it becomes progressively more fantastical.
  20. The low-budget production feels chintzy and impossibly square, even by tyke standards.
  21. Even a brisk running time, barely topping 80 minutes, is too long to ask audiences to stay in the company of these characters and their terrible self-inflicted predicaments.
  22. Initially promising, but quickly disappointing.
  23. 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.
  24. Alas, even Murphy's largely wordless, physically adroit performance can't redeem this tortured exercise in high-concept spiritualist hokum.
  25. Shyamalan is clearly a director-for-hire here, his disinterest palpable from first frame to last. Nowhere in evidence is the gifted "Sixth Sense" director who once brought intricately crafted setpieces and cinematic sleight-of-hand to even the least of his own movies.
  26. Lars von Trier cuts a big fat art-film fart with Antichrist. As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images.
  27. A few mildly tone-deaf jokes are hardly enough to sink Hot Pursuit. What does, however, is its tendency to belabor the laziest, most obvious gags beyond the point of reason.
    • 41 Metascore
    • 30 Critic Score
    Harry and the Hendersons is proof that the folks at Amblin Entertainment, a.k.a. Steven Spielberg’s production company, can’t keep using the same E.T. formula for every kiddie pic.

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