Variety's Scores

For 8,816 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 Lobster
Lowest review score: 0 Bio-Dome
Score distribution:
8,816 movie reviews
    • 84 Metascore
    • 30 Critic Score
    The burning topic of Muslim (mis)representation in U.S. media is not well served by Michael Singh’s amateurish and ill-defined docu Valentino’s Ghost.
    • 77 Metascore
    • 30 Critic Score
    The clumsy story lurches forward through predictable travail and treacle, separated by phonograph records (or vice versa).
  1. Advocacy to the point of propaganda.
  2. Simply fuzzy filmmaking of the worst sort.
  3. Audience patience undergoes a far more brutal butchering than anything onscreen in Delphine Gleize's wildly over-reaching feature debut, Carnage.
  4. This aimless, lifeless time-killer about four teenage girls prepping for their rock-band gig in a school talent show proves entirely the wrong choice.
  5. Doubly disappointing considering that it marks the first feature by Rwandan filmmakers to address the country's 1994 Hutu-on-Tutsi genocide, Kinyarwanda awkwardly and fitfully patches together a half-dozen story strands meant to provide a panoramic view of war and reconciliation.
  6. 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.
  7. A feel-bad film through and through. Chronicling a year in the life of a low-income Mohawk Valley family beset by external hardships and shockingly bad decision-making, the docu straddles the line between unflinching intimacy and invasive exploitation.
  8. Sure to turn off general viewers due to its emotional inaccessibility, multitude of narrative problems and preoccupation with a torture Web site.
  9. Irritatingly devoid of irony, the film has an unintentional but unmistakable homoerotic subtext.
  10. Bad dialogue and bad acting might convince some of the authenticity behind Bad Posture, but there's no getting around the tedious navel-gazing of Malcolm Murray's fiction debut.
  11. Third outing for prairie auteur Gary Burns is his most ambitious, and most uneven, effort yet.
  12. Has the unmistakable look and feel of a micro-budget indie produced for a small circle of friends, many of whom are listed in the credits.
    • 63 Metascore
    • 10 Critic Score
    The Lost Boys is a horrifically dreadful vampire teensploitation entry that daringly advances the theory that all those missing children pictured on garbage bags and milk cartons are actually the victims of bloodsucking bikers.
    • 62 Metascore
    • 30 Critic Score
    There's not much kick in this cocktail, despite its mix of quality ingredients. Casually glamorous South Bay is the setting for a story of little substance as writer-director Robert Towne attempts a study of friendship and trust but gets lost in a clutter of drug dealings and police operations.
  13. A disappointingly rote entry in the '70s teen nostalgia sweepstakes.
    • 62 Metascore
    • 30 Critic Score
    Jacob's Ladder means to be a harrowing thriller about a Vietnam vet (Tim Robbins) bedeviled by strange visions, but the $40 million production is dull, unimaginative and pretentious.
    • 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.
  14. 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.
  15. A 2½-hour demo of auteurist self-importance that's artistically bankrupt on almost every level.
  16. Debuting writer-directors Larry and Andy Wachowski come off like Coen brothers wannabes with no sense of humor.
  17. Strictly for the birds.
  18. A tedious slog alleviated only by widescreen shots of the Portuguese capital and terrific fado singing.
  19. Freeway is roadkill. The directorial debut of screenwriter Matthew Bright ("Gun Crazy") is a sophomoric and morally repellent mix of fractured fairy tale, juvenile social satire, bloody mayhem and overstated B-movie melodrama.
  20. The dramatic trajectory is frightfully obvious, the characters tediously one-dimensional, the dialogue banal.
  21. Even more empty a luxury vehicle than its predecessor, M:I 2 pushes the envelope in terms of just how much flashy packaging an audience will buy when there's absolutely nada inside.
  22. There's a stunning rags-to-rags morality tale hidden in this two-hour mess of a movie.
  23. A comedy in the last century and a drama in the new one. At least, that's the dumbfounding impression left by writer-director Oliver Parker's utterly miscalculated film adaptation of Wilde's play.
  24. A brave but doomed attempt to revive the art of pure physical comedy, the willfully eccentric, practically dialogue-free, Iceberg sets itself a high standard with an opening 15 minutes of the most delicious slapstick, but thereafter only a few moments of gentle surrealism and the occasional poetic image justify the ride, with only 10% of the pic's potential laughs evident above the surface.

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