Variety's Scores

For 10,527 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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Inside Llewyn Davis
Lowest review score: 0 Mother's Day
Score distribution:
10527 movie reviews
  1. Flubs nearly every opportunity to be the comedy it wanted to be.
  2. Much like a botched souffle that fails to rise, Simply Irresistible is a bland confection that remains doggedly earthbound while attempting flights of romantic fantasy.
  3. From its elaborate but incoherent premise to its clunkily staged time-freeze fight sequences, not one detail of “The Anomaly” hasn’t been borrowed from a better movie. That magpie opportunism would matter less if the film at least had barreling narrative momentum.
  4. A mediocre ensemble comedy-drama that's not particularly funny, involving or even nostalgic.
  5. Cluttered, unfocused script attempts too much.
    • 27 Metascore
    • 0 Critic Score
    The film marks an atrocious bigscreen debut for actor and episodic TV director Dennis Dugan.
  6. Amateurish, half-hearted romantic comedy-cum-heist film twists itself into unconvincing knots to pull off a guilt-free bank robbery.
  7. A dreary, weary psychosexual thriller that's neither sexy nor thrilling.
  8. There are probably some moviegoers who can laugh at the sight of a groin-punching, breast-grabbing baby, possibly even find it cute. Everyone else should steer clear of Little Man, which welds Marlon Wayans' head to a diminutive body double, offering up the creepiest bigscreen dwarf since the last David Lynch movie.
  9. Alas, even Murphy's largely wordless, physically adroit performance can't redeem this tortured exercise in high-concept spiritualist hokum.
  10. Significantly lacking in star wattage (including Perry’s own), this sluggish, relentlessly downbeat portrait of a young couple in crisis should play well to Perry’s fanbase.
  11. A handful of solid performances and some subtle ’70s period detailing are hardly enough to recommend this flat, predictable drama.
  12. Director Ross Katz’s The Choice, which mimics “The Notebook” in everything but meaningful conflict, believable characters, style and emotional honesty, is a very unsuccessful story.
  13. Though the film ultimately hinges on a “forbidden” Muslim-Christian romance, almost nothing is made of the enormous hurdles that would be present in this time and place.
    • 26 Metascore
    • 30 Critic Score
    The numerous sex scenes are good and steamy.
  14. A flabby, unfunny action-comedy produced, directed and written by former WWE exec VP Mike Pavone, The Reunion boasts one of the most poorly assembled scripts to emerge from the wrestling franchise.
  15. Overall, though, the slapdash pic appears to be the work of folks who made things up as they went along; you might say they were, well, vamping.
  16. 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.
  17. Dragged down by a sputtering script and torpid pacing. Way too disturbing for kids and too weird for most grown-ups.
  18. This tepid comic-bookish comedy should zip through its theatrical run faster than a speeding bullet. It likely won't perform much more superheroically in ancillary venues.
  19. Offering a fitfully funny sitcom plot clumsily stretched to 90 minutes, then goosed with increasingly tiresome doses of smuttiness and political incorrectness, The Best and the Brightest is neither.
  20. 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.
  21. With a low-budget look, cliched dialogue, a stale plot and so-so acting, this supernatural thriller is unlikely to achieve the phenomenal success of its fabled predecessor.
  22. A weekend romp for four middle-aged buddies devolves into a drug-fueled, suicidal hell in Mark Pellington's ill-conceived and executed I Melt With You, a work of extreme self-indulgence.
    • 26 Metascore
    • 10 Critic Score
    A travesty trying to be a Sharon Stone vehicle, this wooden crime yarn easily qualifies as the most tired, unexciting mob movie in recent memory.
  23. Ineptly written and helmed story of three Londoners, although quite bad, does have a few redeeming features.
  24. Screwball elements feel overly theatrical -- one can almost see the actors waiting calmly in the wings for their breathless entrances.
  25. A mind-numbing, crash-bang misfire that abandons chic European capitals for the character’s own backyard.
  26. Imagine Paul Verhoeven’s “RoboCop” stripped of its politics, its wit, its humanity, and its craft, and that only gets halfway down the bottom of the barrel scraped by Officer Downe, a hyper-aggressive and thoroughly repugnant piece of comic-book juvenalia.
  27. Fails to stir the emotions despite its heavily melodramatic drive.

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