Variety's Scores

For 10,028 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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: 60
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Vulgar
Score distribution:
10028 movie reviews
  1. Now You See Me 2 is more like a giddy piece of cheese from the ’80s, a chance to spend two more hours with characters we like, doing variations on the things that made us like them in the first place. The revisit, in this case, is well-earned.
  2. A wannabe romantic comedy with miscast leads and a script in desperate need of a good editor.
  3. Not an embarrassment, but it's not distinguished, either.
  4. Slim on story and rife with scatological jokes, the film may strike a chord with pre-teens but misses for an older crowd despite some nifty effects and broad humor.
  5. Impressively made and well acted by an exceedingly attractive cast, this dark tale of ceaseless conflict is adult entertainment and will likely disappoint viewers expecting a "Camelot"-like love triangle.
    • 46 Metascore
    • 70 Critic Score
    The Dead Pool isn't the best and brightest of the Dirty Harry films, either, but just as invincible. It's possible that Clint Eastwood and crew are just enjoying a bit of self-mockery with this one.
  6. Once Choose Connor ventures into the larger political arena, it begins to work against itself.
  7. Though picture is downbeat and defiantly low-budget, its laid-back absurdist tone and no-nonsense pacing make for an audio-visual delight.
  8. The actors are all game and well paired, but flashes of chemistry and an appreciable level of production finesse (courtesy of d.p. Simon Chapman and composer Michael Yezerski) aren’t enough to bring the requisite charge to this flimsy, pseudo-provocative material.
    • 46 Metascore
    • 70 Critic Score
    Pete’s Dragon is an enchanting and humane fable which introduces a most lovable animal star (albeit an animated one).
  9. Apart from the occasional thrill provided by CG-enhanced aerial dogfights, this stuffy history lesson about the groundbreaking African-American fighter pilot division never quite takes off, weighed down by wooden characters and leaden screenwriting.
  10. The film struggles to match the original Ealing's quality benchmark, and its unapologetically old-fashioned sensibility may have trouble connecting with contempo audiences.
  11. Far from encouraging "Survivor"-style competitiveness, the desert setting serves as a serene Club Med-type backdrop to the all-male bonding.
  12. The movie deprives us of either a tragic villain or a sympathetic lead, hoping that its grab bag of squirm-inducing details — dental drills, stillborn livestock, flesh-eating eels — will suffice, when in fact, they reveal how a shorter, tighter treatment ought to have done the trick.
  13. Amiably slapdash docu about The Comedians of Comedy tour mixes on-stage performances, backstage bull sessions and downtime tomfoolery to generally satisfying and frequently hilarious effect.
  14. Its modesty is what makes its very real virtues -- a tart, literate script, an adroit balance of humor and pathos, a memorable onscreen collaboration between star-scribe Scott Caan and his father James -- so cumulatively impressive.
  15. The overall execution is so pedestrian that it’s possible to feel more moved by the filmmakers’ good intentions than by the actual emotional content onscreen.
  16. A Teutonic version of "American Beauty" with added dysfunctionality.
    • 46 Metascore
    • 70 Critic Score
    Zesty indie comedy from Rhode Island is a winner, with ethnic humor easily mixing with universal truths about dealing with families.
  17. Scene by scene, The Flowers of War is an erratic and ungainly piece of storytelling, full of melodramatic twists and grotesque visual excesses (a bullet pierces first a stained-glass window and then a girl's neck), which are nonetheless delivered with startling conviction.
  18. Slight but sleek, Flirt is still fun.
  19. Visual flourishes (handsomely lensed by Eric Edwards on Utah locales standing in for Montana) are polished but derivative, with too many time-lapse sky views, reminiscent of Van Sant's "My Own Private Idaho."
  20. Unfortunately, Wolman's flat direction accentuates the predictable course of his soft narrative.
  21. Well-cast relationship comedy-drama is played too broadly in the early going, but gradually settles into a more appealing groove as a glossy date-movie.
  22. Beautifully crafted and highlighted by an arresting change-of-pace perf by Meg Ryan as an English teacher erotically awakened by a homicide detective. But the story's unpalatable narrative holes and dramatic missteps will hold sway over the pic's better qualities.
    • 46 Metascore
    • 50 Critic Score
    Rarely rises above standard sitcom fare.
  23. A dramatic situation that should be wrenching is mostly tedious in Reservation Road.
    • 46 Metascore
    • 50 Critic Score
    Comedy, pathos and thrills alternately collide, creating problems in both pacing and developing a consistent tone.
  24. 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.
  25. 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.

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