Variety's Scores

For 10,522 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 Patton
Lowest review score: 0 Rollerball
Score distribution:
10522 movie reviews
    • 51 Metascore
    • 20 Critic Score
    Like a standup comic pouring 'flopsweat', this ill-conceived comedy about an infant whose thoughts are given voice by actor Bruce Willis palpitates with desperation.
  1. On just about every level -- as a thriller, as a romance and as a character study of a complicated man nearing the end of his professional life -- the film fails, and the meandering, sub-Cassavetes approach is likely to be a turnoff for all but the most indulgent viewers.
  2. The direction and technical elements are obvious, bright and vapid, while the performers struggle against staggering odds to provide nuance.
  3. Reducing an immensely disturbing, politically byzantine tale to a series of cartoonish vignettes, this celeb-studded biopic squanders a gutsy performance by Amanda Seyfried.
  4. Granted, Landesman feels an obligation to history, but there’s something ponderously obvious about the way so many of these scenes are played.
  5. It’s hard to say what the title of Trespass Against Us actually means, but then it’s hard to know what anything in this movie thinks it’s about. Even Ed Wood would have said, “Needs work.”
  6. Though billed as a documentary, this 59-minute doodle barely rises above homemovie status.
  7. Somewhere buried deep within You’re Killing Me Susana is a commentary on loutish manliness, and the way in which romances are inherently fraught with tensions between individual and shared desires. Unfortunately, such notions are drowned out by all manner of irritating shenanigans.
  8. 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.
  9. Japanese horror doesn't get more tedious.
  10. A sci-fi confection that, at best, momentarily recalls the dystopian whimsy of the director’s best-loved effort, “Brazil,” but ends up dissolving into a muddle of unfunny jokes and half-baked ideas, all served up with that painful, herky-jerky Gilliam rhythm.
    • 50 Metascore
    • 30 Critic Score
    The virtual absence of anything interesting happening between them - like plausible attraction, exotic, amazing sex, or, God forbid, good dialog - leaves one great big hole on the screen for two hours.
  11. Nothing short of preposterous, Jake Scott's film imagines a grieving couple (James Gandolfini and Melissa Leo) who play surrogate parents to an underage stripper ("Twilight's" Kristen Stewart) and spins it for the "Blind Side" crowd.
    • 50 Metascore
    • 30 Critic Score
    Carpenter spends so much time turning the screws on the next scare that he completely forsakes his actors, who are already stranded with a shoddy script.
  12. There is no one to become attached to in The Four Feathers, no interest or sympathies appealed to or engaged.
  13. Newman's charismatic, multishaded performance elevates the hodgepodge caper comedy a couple of notches above its preposterous plotting and self-consciously movieish texture.
  14. Begins as a serious, straightforward account of the origins of the cocaine trade and "gangsta" culture in 1980s Harlem, but then downward spirals due to a weak plot and gratuitous violence.
  15. Overlong, ponderous and occasional risible.
  16. The polished, bland low-budget presentation doesn’t raise much tension, and the script springs no real surprises
  17. Not just instantly forgettable, but beginning to fade from memory even as its images still play across the screen.
  18. Viewers of this Sam Raimi-produced, sub-"Amityville" scarefest are likely to hold the real grudge.
  19. The effects are snazzy, even if they pass by quite quickly, and there's enough going on to keep audiences watching, if not entirely happy. Smith, Theron and Bateman capably handle the main roles, but such is the skimpiness of the scenario that no further characters make any impact.
  20. 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.
  21. At once superficial and overblown, this documentary also often feels downright phony.
    • 49 Metascore
    • 30 Critic Score
    As a director, Lee fails to strike the right note between realism and fantasy, and the heavy subject matter just falls with a thud. As an actor, however, Lee does a good job creating a sort of black babe in the woods.
  22. Assaults are filmed in ubiquitous slow-mo to better register the way bodies are thrown into the air. It’s all rather confusing, actually, since the monochromatic tonalities and weak script, lacking in any comprehensible battle strategy, tend to meld the two sides together.
  23. Plotless, pretentiously literary and lousy at explaining geography, the movie fails to put Yang’s vision into a fictional framework that’s even remotely engaging.
  24. For a movie that’s ostensibly about casting off the shackles of old age and embracing excitement in life, there isn’t a single moment here that feels original or spontaneous.
    • 49 Metascore
    • 30 Critic Score
    Taps labors at an unbearably slow pace to an inevitable, depressing conclusion.
    • Variety
  25. 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.

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