Variety's Scores

For 11,468 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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 King of the Hill
Lowest review score: 0 The One
Score distribution:
11468 movie reviews
  1. Even a premise this stupidly contrived stands a fair chance of working if there are a few decent yuks to be had, but absent any such inspiration, We’re the Millers falls back on the sort of lazy but desperate, sexually fixated non sequiturs that have become de rigueur in studio comedies, jabbing repeatedly at the human groin in hopes of eventually hitting something funny.
  2. Even at 73 minutes, the film is, well, too damn long.
  3. The film enunciates its raw themes — punk means individuality! the aliens are all about conformity! — but never begins to figure out how to embody those themes in a narrative that could lure in the audience.
    • 44 Metascore
    • 20 Critic Score
    Firefox is a burn-out. Despite the tense mission being depicted, there’s no suspense, excitement or thrills to be had, and lackadaisical pacing gives viewer plenty of time to ponder the gaping implausibilities.
  4. Bottom-drawer plot of a South Boston bad boy returning to tie up loose ends reads like every other "Mean Streets" knockoff in the past decade, with no scene, development or performance standing out from undifferentiated din.
    • 44 Metascore
    • 30 Critic Score
    Comic book crime meller suffers from an irredeemably awful script, and even director John Irvin’s engaging sense of how absurd the proceedings are can’t work an alchemist’s magic.
  5. Rarely has a picture been so self-consciously designed to be a culturally meaningful touchstone, and fallen so woefully short, as Southland Tales.
  6. A collection of sentimental and emotional moments in search of a movie.
    • 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
  7. A remarkably boring comedy.
  8. 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.
  9. 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.
  10. 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.
    • 43 Metascore
    • 30 Critic Score
    A patchwork of out-takes, reprised clips and new connective footage, Trail of the Pink Panther is a thin, peculiar picture unsupported by the number of laughs one is accustomed to in this series. Stitched together after Peter Sellers' death, this is by a long way the slightest of the six Inspector Clouseau efforts.
  11. Writer-editor-director Paul F. Ryan makes the mistake of focusing on an ungainly and, finally, unplayable verbal match between two high schoolers.
  12. A lark gone utterly awry.
  13. 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.
  14. A strident, painfully repetitive and hopelessly stage-bound drama about self-indulgent twentysomethings on the fringes of the L.A. film scene.
  15. Fails to captivate or intrigue at the most basic level.
  16. Dustin Guy Defa's Bad Fever takes mumblecore to its reductio ad absurdum, featuring a hero whose utterances border on the unintelligible.
  17. 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."
  18. 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.
  19. This butterfly just doesn't fly. Icy, surprisingly conventional and never truly convincing.
  20. Animation is dull and characterless, and vocal talent has evidently received blanket direction to, when in doubt, shout.
  21. For once, truth in advertising: Dealin’ With Idiots spends 83 minutes doing exactly that.
  22. Sloppy and dull in equal measures.
  23. Actors who can't act, musicians who can't play, and storylines that go absolutely nowhere.
  24. 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.
  25. Little more than a slipshod, trashy, sometimes exploitative thriller.
  26. A good biographical film about artists should, at the very least, inspire the viewer to learn more about its subjects and the work they created. Total Eclipse has totally the opposite effect, of making one never want to hear about its protagonists again. This misbegotten look at the mutually destructive relationship between the 19th century French poets Arthur Rimbaud and Paul Verlaineis a complete botch in all respects.

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