Variety's Scores

For 8,838 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 Iron Man
Lowest review score: 0 Movie 43
Score distribution:
8,838 movie reviews
    • 43 Metascore
    • 30 Critic Score
    Even die-hard Trekkies may be disappointed by Star Trek V. Coming after Leonard Nimoy's delightful directorial outing on Star Trek IV, William Shatner's inauspicious feature directing debut is a double letdown.
    • Variety
  1. Criminally short on laughs as it tries to wring humor from dull activity by dim bulbs.
  2. A remarkably boring comedy.
  3. The result is unquestionably an auteur film, but one festooned with so many bad and unnecessary ideas that one can’t help wondering if a more modest, hemmed-in version of the same project might not have proved more effective.
  4. That the taste of Annemarie Jacir's feature debut should be bitter is completely understandable given the untenable Palestinian situation, but the heavy-handed, excessively didactic script plays like a primer for people only vaguely aware of the issues while overly confirmed in their righteousness.
  5. An unwieldy mix of self-conscious camp and heavy-handed allegory, Automatons plays like a cheesy '50s no-budget sci-fier with serious delusions of grandeur.
  6. Writer-editor-director Paul F. Ryan makes the mistake of focusing on an ungainly and, finally, unplayable verbal match between two high schoolers.
  7. A lark gone utterly awry.
  8. An uncommonly dour and even grim action thriller that globetrots as diversely as a James Bond film but offers a very limited view politically, emotionally and dramatically.
  9. A strident, painfully repetitive and hopelessly stage-bound drama about self-indulgent twentysomethings on the fringes of the L.A. film scene.
  10. Fails to captivate or intrigue at the most basic level.
  11. Dustin Guy Defa's Bad Fever takes mumblecore to its reductio ad absurdum, featuring a hero whose utterances border on the unintelligible.
  12. As hard as metal and just as dumb, Paul W.S. Anderson's Death Race couldn't be further from producer Roger Corman and director Paul Bartel's goofy, bloody 1975 original, "Death Race 2000."
  13. Relying on a synthesized score, over-saturated cinematography and frustratingly cliched dialogue, this is an extremely generic, truly empty tale of a drug smuggler involved with cops and criminals alike.
  14. This butterfly just doesn't fly. Icy, surprisingly conventional and never truly convincing.
  15. Animation is dull and characterless, and vocal talent has evidently received blanket direction to, when in doubt, shout.
  16. For once, truth in advertising: Dealin’ With Idiots spends 83 minutes doing exactly that.
  17. Sloppy and dull in equal measures.
  18. Actors who can't act, musicians who can't play, and storylines that go absolutely nowhere.
  19. The deafening Bollywood action comedy Boss, directed in broad, heavy strokes by Anthony D’Souza (“Blue”), is a relentless hard-sell star vehicle, a two-and-half-hour string of sledgehammer fighting and dancing sequences.
  20. Little more than a slipshod, trashy, sometimes exploitative thriller.
  21. Even in a more fluid package, this mix of camp comedy and bathos would seem artificial.
  22. Satirist and "Daily Show" ex-contributor Mo Rocca's faux-disingenuous tone and nonstop jocularity dominate the documentary to quickly grating effect, significantly diminishing its impact.
  23. It's plotless, shapeless -- and yet, it must be admitted, not entirely humorless. Indeed, the more outrageous bits achieve a shock-you-into-laughter intensity of almost Dadaist proportions.
  24. Game ride that makes the two previous installments look like models of classic filmmaking.
  25. What this juvenile adventure has in spades is special effects and picturesque locations. What it lacks is an emotional link to make the Saturday afternoon he-man posturing palatable, or at least bearable.
  26. A staggeringly misguided stab at making the past come alive by people who have absolutely no feel for period filmmaking. Banal at best and laughable at worst.
  27. The pic provides lots of sexy, neon-hued eye-candy but not many images of deeper resonance.
  28. Much of the confusion, as well as the lack of dramatic rhythm or character development, results directly from Bay's cutting style, which resembles a machine gun stuck in the firing position for 2 and a half hours.
  29. A risible slab of Detroit gothic that marks an altogether inauspicious writing-directing debut for Ryan Gosling.

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