Variety's Scores

For 10,410 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 At Berkeley
Lowest review score: 0 Wrong Cops
Score distribution:
10410 movie reviews
  1. Picture's tendency to lecture on the power of faith and religion and on the demerits of science seems to assume an almost childlike audience that needs to be spoon-fed Pablum.
  2. This offbeat effort proves more admirable for its ambition than anything else, as the uneasy mix of satire, allegory, grittiness and redemption never quite jells.
  3. Baron Cohen’s unflinching ability to play dumb is still good for a few chuckles, making some of the film’s funniest moments out of its most innocent quips.
  4. An aggravating romance that runs only 78 minutes but ends not a moment too soon.
  5. This is the kind of movie where a major development in a character’s personal life instantly telegraphs his ultimate fate in the trenches.
    • 44 Metascore
    • 50 Critic Score
    This vaguely likable, too-tame comedy falls short of the mark.
  6. Any message about the need for open-mindedness in life and love, however, is muddled by a slapdash plot that ultimately cares less about taking a stand in favor of progressive values than it does in superficially employing such feel-good ideas for unimaginative, hyperactive adolescent slapstick.
  7. Zombeavers is not a total wash, and seen at night, under the right combination of low expectations and controlled substances, it may even seem better than it really is.
  8. Picture veers unsteadily between melodrama and light comedy, with no confidence in either.
  9. Despite the preposterous, kissing-your-sister premise of A Good Old-Fashioned Orgy, a very likable cast and some terrific sketch-style comedy should please (if not deeply satisfy the lustful yearnings of) audiences lured by the film's title.
  10. Churchill is a small, watchable, rather prosaic backroom docudrama.
  11. As a self-aware guilty pleasure, The Belko Experiment may not quite seize greatness, but it does give it a playful squeeze.
  12. What sends this initially tense thriller over the precipice is a plot scheme that never knows when enough is enough.
  13. While Second Best is mildly engaging thanks largely to an appealingly self-effacing turn from Joe Pantoliano, writer-director Eric Weber's script could have used an extra polish or two.
  14. As a showcase for rising young star Michael Angarano and Christopher Plummer, pic offers the pleasures of connecting Hollywood traditions and generations in the spirit of Peter Bogdanovich's films about and inspired by the movies.
  15. Moves along at a clip and provides a terrific action lead for Dwayne "the Rock" Johnson.
  16. Attention is retained by the commendably unhistrionic leads, who convincingly etch the pair’s enduring devotion even when passions run dry.
  17. Some of the filmmaker's keen intelligence remains on display, but only in fractured and often obscure form, and pic overall gives the impression of a giant expurgation of negative feelings about things in general rather than a carefully articulated brief on recognizable subjects.
  18. Brit sitcom The Inbetweeners, which tracked the travails of four male misfits in their last years at high school, makes a satisfying leap to the bigscreen in summer holiday adventure The Inbetweeners Movie.
  19. Marshall has tried to do too much, dealing with certain subplots too sparingly to deliver on their promise.
  20. With the help of his stunt and special effects teams, Harlin delivers more than enough goods to satisfy genre fans, so main question is whether a female action hero, and Davis in particular, is ready to be embraced by the huge public the film is clearly targeting.
  21. A really small movie done up in a big, moody package, Saawariya entices, fitfully springs to life but finally outstays its welcome by a good half-hour.
  22. Serves up a bland recycling of cliches and archetypes from just about every youth-skewing, dance-centric picture to hit the megaplexes since "Flashdance."
  23. While there’s no great originality on display here, Beijing Love Story handles its full range of stylistic and tonal gambits with impressive assurance. A strong performance or a well-placed sober moment always brings things back to terra firma whenever they turn a bit over-the-top.
  24. Don’t Swallow My Heart, Alligator Girl! aims for poetry yet, like its ridiculously clumsy title, manages only an odd mix of magical realism with over-heated Lynchian touches.
  25. The circumstances may be contrived, but the characters feel refreshingly genuine.
  26. A fairly sexy, serious-minded drama hobbled by its lack of real conceptual ambition.
  27. Uneasily pivots between comedy and drama, with its best parts strongly reminiscent of Schepisi's previous, British-made drama about aging and dying buddies, "Last Orders."
  28. More interested in finding fresh ways to stage execution scenes than in finding meaning behind the human urge for self-appointed righting of wrongs, (the film) is stuffed with effects that have no lasting impact.
  29. A perfect example of the sad trend in contempo Latin American filmmaking to imitate old Tarantino with only a fraction of the stylistic cojones, frantic comedy dealing with two pairs of confused guys and one pair of kidnap victims is an empty exercise that loses its juice before first reel's end.

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