Variety's Scores

For 10,822 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 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Prisoners
Lowest review score: 0 Problem Child
Score distribution:
10822 movie reviews
  1. A wannabe romantic comedy with miscast leads and a script in desperate need of a good editor.
  2. 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.
  3. The bad news, however, is that after an intriguing opening stretch, and despite Jeremy Irons' potent lead performance, the overlong film becomes repetitive, flat and often dull.
  4. More soap opera than high drama, the film is confused and confusing, and tedious to boot.
    • 46 Metascore
    • 30 Critic Score
    The story ultimately feels too conventional, and the portrait of the artist is too shallow to stand as a compelling or convincing evocation of a complex mind.
  5. Part comedy, part family drama, part romance, part special-effects mystery-adventure, and not entirely satisfying on any of these levels, this hodgepodge suffers from the conflicting sensibilities of its three credited scripters: Robin Swicord, who has done good work before, Akiva Goldsman, who has not, and Adam Brooks.
  6. 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.
  7. This wrong-headed dramedy peddles forced warm-fuzziness and insincere sentiment on the backs of an all-star cast.
  8. Senselessly long at two-and-three-quarters hours and with a protracted climax that eradicates any goodwill established in the fastidious first couple of reels.
  9. Feels like a film from several years ago, one of the many made in the wake of "Pulp Fiction" that tried and failed to be as clever as its progenitor.
  10. A series that's provided a successful, moderately enjoyable ride up to now blows its tires, gasket and transmission on its way to flaming out in Fast & Furious.
  11. Shrill, strenuous and entirely without charm, Ron Howard's attempt at a Christmas classic is an elaborately wrapped empty box that will fool many people into buying it but will not greatly please its recipients.
  12. Saw
    A crude concoction sewn together from the severed parts of prior horror/serial killer pics.
    • 46 Metascore
    • 30 Critic Score
    Despite good thesping, particularly from Belton, it's hard to imagine why anyone would want to spend time with this trio.
  13. Perfs are either absurdly stiff or over-the-top, and effects and makeup look like they were made in someone's garage.
  14. 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.
  15. An ungainly, at times cringe-worthy succession of tame, telegraphed romantic mishaps, well-intentioned if unconvincing sentimentality, and some of the least authentic teenage dialogue this side of the "Friday the 13th" franchise.
    • 46 Metascore
    • 20 Critic Score
    Pic shies away from the world of classical dance, personified by leading man Mikhail Baryshnikov, in favor of Gregory Hines' 'improvography' and assorted modern stuff in blatant music video contexts.
    • 46 Metascore
    • 20 Critic Score
    Mel Brooks will do anything for a laugh. Unfortunately, what he does in Spaceballs, a misguided parody of the Star Wars adventures, isn't very funny.
  16. A dull afterthought and a sorry vehicle for the comic expression of Martin Lawrence.
  17. Begins as though the filmmakers imagine that they're making a daringly anti-p.c. serio-comedy, but long before it's over, the picture is wearing its bleeding liberal heart all over its sleeve.
  18. This shameless knockoff marches lock-stepped through moves that were already looking as tired as the Macarena.
    • 45 Metascore
    • 30 Critic Score
    An overproduced, disappointing shaggy dog comedy.
  19. By turns turgid, embarrassing and plain off-putting.
  20. A stunningly unfunny farce that makes the worst of a stale concept.
  21. So little happens in The Boy, and so little suspense is effectively built around its central figure, that by the time things finally do heat up the movie has flatlined too completely for us to care.
  22. Too many scenes play like actors acting rather than life being lived as pic lurches around with ragged variations in tone.
  23. A mildly entertaining but dramatically messy kidpic.
  24. A risibly overheated, not unenjoyable slab of late-'60s Southern pulp trash, marked by a sticky, sweaty atmosphere of delirium and sexual frustration that only partly excuses the woozy ineptitude of the filmmaking.
  25. The tension rarely rises above a low boil.

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