Variety's Scores

For 13,927 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 2.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Mary Poppins
Lowest review score: 0 Bio-Dome
Score distribution:
13927 movie reviews
  1. When the mortars aren’t firing, the movie ebbs, flows, occasionally sags, and sometimes rivets.
  2. It’s like an immortal-mercenary hangout movie. Chunks of the picture are logy and formulaic (it dawdles on for two hours), but the director, Gina Prince-Bythewood (making a major lane change after “Love & Basketball” and “The Secret Life of Bees”), stages the fight scenes with ripe executionary finesse, and she teases out a certain soulful quality in her cast.
  3. Despite its probably modest budget, “Street Survivors” is actually first-class as convincingly harrowing aeronautical disaster movies go, if you’re a follower of the genre that has Peter Weir’s 1993 “Fearless” to live up to.
  4. Not much happens in Bungalow, a deceptively low-key drama from Germany. But a series of mysterious offscreen explosions and general air of ennui express anxiety of the country’s post-unification youth.
  5. In some sense, Quatro was Jett before Jett was really Jett — laying down the leather law when no female rocker had yet managed the combination of sex appeal and pure machisma.
  6. It does provide engrossing studies in human interest, as well as an empathetic look at the particular struggles of U.S. immigration in the new millennium.
  7. Such a film may suffer from home viewing, and yet, The Outpost represents the most exhilarating new movie audiences have been offered since the shutdown began.
  8. A detailed yet paint-by-numbers study of the living legend who believes in the necessity of making good trouble as an instigator of societal change.
  9. The film aims to be more intimate, but it frequently deprives audiences of the show’s ingenious spatial design. Still, this original cast is so charismatic — and Miranda’s ultra-dense, dizzyingly clever book and lyrics are so effective — that they maintain our attention even when the edit feels like one of those live sporting events, as a producer sits in the control booth choosing between cameras in the moment, rather than planning out the shoot in advance.
  10. None of this is particularly credible, let alone memorable, but it’s all executed with sufficient energy and humor to make for an enjoyable night’s entertainment.
  11. So what is The Ghost of Peter Sellers? It’s a record of what it was like to shoot an empty shambolic piece of junk that drained the coffers of everyone involved. It’s a record of the kind of damage that a debonair misfit like Peter Sellers could cause when he put his mischievous (and maybe, in some ways, unstable) mind to it.
  12. Woodhead’s movie is at its best in how neatly it delineates the different musical phases of Fitzgerald’s career.
  13. Still best known as Hurley from “Lost,” Garcia quietly electrifies here in a role that feels like a breakout; for all the film’s superior craft and unsettling atmosphere-building, it is his sympathetic soulfulness that delivers the most resonant harmonics.
  14. While it falls short of its promised earth-shattering, mind-altering revelations, it does cast an interesting hook from a creative perspective, thoughtfully packaging its message in visually coherent, engaging ways.
  15. At nearly 100 minutes — way too many for material this flimsy — Followed even has time for a couple clumsily maudlin bits, not excluding brief yet awesomely trite address of “the homeless issue” in downtown L.A. A movie like this doesn’t need to have a social conscience. It ought to have worried first about having a brain, period.
  16. Weisse’s gripping, cool-blooded drama upends all manner of inspirational-educator clichés.
  17. It’s a badly shot one-joke movie that sits there and goes thud.
  18. Muna’s plan won’t leave only misery behind, which is what gives Saudi Runaway its emotional heft and depth as it revs up to a finale of unalloyed, skin-prickling suspense.
  19. Irresistible scores points yet feels behind the curve. You wish it were a bold satirical bulletin, or maybe just Stewart’s pricelessly amusing version of a Christopher Guest movie. Instead, the film is a lot like a politician: It makes a big show of leading the viewer, but without rocking the boat.
  20. This bouncily entertaining doc may boast only a notch more formal ambition than a very well-assembled “Behind the Music” special, but is no less essential than Lee’s first MJ opus, the excellent “Bad 25.”
  21. It is, frankly, a lot to absorb — and would risk crumbling under the weight of Lee’s ambition were it not for the second gut punch to the region that BP’s horrifying blunder delivered.
  22. Athlete A is a testament to their perseverance, and to the courage of all those who stood up in court to face the man who had violated their humanity. But it’s also a testament to the obsession that gave cover to their abuse — to a culture that wanted winners at any cost.
  23. Essential, thoroughly engaging documentary.
  24. Here and there, amid the tedious sound and fury, you can spot some genuinely witty touches. Lynch and Shapiro are initially portrayed as flirty happy warriors who clearly delight in working with each other, and it’s a pity the movie didn’t make more of the chemistry generated between Robinson-Galvin and Benjamin.
  25. A pleasantly predictable faith-based dramedy.
  26. Miss Juneteenth richly captures the slow pace of ebbing small-town Texas life, even if you might wish there were a bit more narrative momentum to pick up the slack in writer-director Channing Godfrey Peoples’ first feature.
  27. The movie won’t disturb your dreams, but it grabs hold of you and keeps tugging.
  28. Riley, Nighy, Lowe and Agutter all find some truthful, moving place to work from, despite the ever-present threat of being upstaged by a kitschy sconce or an eye-jangling turquoise-and-pink color scheme.
  29. It’s compelling enough in its non-hyperbolic take on familiar genre elements, even if the depth of tragedy aimed for proves as much out of reach as any nerve-wracking suspense.
  30. For its first half, 7500 is briskly effective in a cold-sweat sort of way, carrying its audience from a smooth takeoff to the first signs of disturbance to swiftly cranked all-out terror with the kind of nervy efficiency you can admire without exactly taking pleasure in it. In more ways than one, however, Vollrath’s technically adroit film has trouble sticking the landing.

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