Variety's Scores

For 7,983 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 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Fast Runner (Atanarjuat)
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
7,983 movie reviews
  1. Staying at the top of his game when most of his contemporaries have long since hung up their gloves, Clint Eastwood delivers another knockout punch with Million Dollar Baby.
  2. Any negative stereotypes viewers might harbor about education in rural communities are sent packing by this magnificently lensed and cumulatively touching account from documaker Nicolas Philibert.
  3. Sparked by wonderfully lived-in performances from Julianne Moore and Mark Ruffalo, The Kids Are All Right is alright, if not up to the level of writer-director Lisa Cholodenko's earlier pair of new bohemian dramas, "High Art" and "Laurel Canyon."
  4. The poignant and candid Boys Don't Cry can be seen as a "Rebel Without a Cause" for these culturally diverse and complex times, with the two misfit girls enacting a version of the James Dean/Natalie Wood romance with utmost conviction.
    • 86 Metascore
    • 80 Critic Score
    Cronenberg handles his usual fondness for gore in muted style.
  5. Filtering the world's oldest paintings through the latest in cinematic technology, Werner Herzog delivers a one-of-a-kind art-history lesson in Cave of Forgotten Dreams.
  6. King of the Hill has all the rich satisfactions of a fine novel.
    • 86 Metascore
    • 90 Critic Score
    Fonda himself has given this a fine production dress, with associate Bert Schneider, and the brilliant lensing, excellent music background ballads, especially Bob Dylan's "Easy Rider," are fine counterpoints to this poetic trip along Southwest America.
  7. A concise overview's clarity and an epic narrative shape, with a happy ending to boot.
  8. Elusive and elliptical as it is, this is one of the most accessible films in Oliveira's recent repetoire.
  9. Beautifully acted by a diverse ensemble, this Good Machine production is carefully crafted and deliberately paced.
  10. Ten
    10 dazzling and perceptive snapshots of women with which femmes everywhere can identify.
    • 86 Metascore
    • 100 Critic Score
    An outstanding picture.
  11. A story of love and subterfuge in 1980 East Germany that never quite accelerates into an outright thriller, Barbara reps another assured collaboration between director Christian Petzold and his main muse, actress Nina Hoss.
    • 86 Metascore
    • 70 Critic Score
    As the film patiently (perhaps too much so for some) heads toward its foregone conclusion, Beauvois gradually raises his style to a level of baroqueness reminiscent of 1995's "Don't Forget You're Going to Die."
    • 86 Metascore
    • 90 Critic Score
    Sorrentino continues to tackle major topics using an extraordinary combination of broad brushstrokes and minute detail. Passion via the intellect has become his trademark, well suited to this dissection of empty diversions, indulged in by latter-day Neros fiddling while Rome burns.
    • 86 Metascore
    • 70 Critic Score
    Oddball mix that may strike some as overly whimsical but should delight the filmmaker's many fans.
    • 86 Metascore
    • 60 Critic Score
    A descent into the pit of hell with slim odds of ever returning.
  12. So harsh and damning is the pic toward the current Catholic leadership -- personified by Los Angeles-based Cardinal Roger Mahony, who oversaw O'Grady's stewardship at various central California parishes in the 1970s and '80s, that charges the church operates "like the Mafia" sound spot-on.
    • 86 Metascore
    • 90 Critic Score
    Performances by the earnest Fox, the lunatic Lloyd, the deceptively passionate Lea Thompson, and, particularly, the bumbling-to-confident Glover, who runs away with the picture, merrily keep the ship sailing.
  13. A nail-biter that’s actually quite light on action but so well-scripted and shot, it’s nonetheless edge-of-your-seat material.
    • 86 Metascore
    • 80 Critic Score
    Ultimately, the thrill of Argo is in watching how the illusion-making of movies found such an unlikely application on the world political stage, where the stakes were literally life and death.
    • 86 Metascore
    • 60 Critic Score
    A curiously uneven movie.
  14. An exquisite reflection on personal bereavement.
  15. Enormously ambitious and masterfully made, Traffic represents docudrama-style storytelling at a very high level.
  16. An engaging, well-crafted and imaginative meditation on solitude and communication.
    • 86 Metascore
    • 70 Critic Score
    It takes nerve to make a pic in which all dialog is sung. Also, there is no dancing and this is not a filmed operetta or opera. [review of original release]
    • 86 Metascore
    • 40 Critic Score
    A major achievement in cinematography and special effects, 2001 lacks dramatic appeal and only conveys suspense after the halfway mark; Kubrick must receive all the praise - and take all the blame.
  17. Looks at the agricultural industry across Europe through sound and images alone. Pic offers a tabula rasa in which some auds will see a horrifying indictment of the industry's cruelties, others a realistic depiction of mechanized farming, and some a soft-spoken tribute to manual labor. Meanwhile, precisely composed lensing and painstaking sound design create moments of sublime beauty.
  18. The writer-director's typically eccentric sixth feature is a sustained immersion in a series of hypnotic moods and longueurs, an imposing picture that thrillingly and sometimes maddeningly refuses to conform to expectations.

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