Variety's Scores

For 13,824 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 Spider-Man 2
Lowest review score: 0 Mother's Day
Score distribution:
13824 movie reviews
  1. The screenplay’s seams show so glaringly, and the finish is so tonally mismatched, that notwithstanding audience identification and the inevitable “loosely inspired by real events” tagline, Papicha feels conspicuously manipulative.
  2. At just 78 minutes, this bustling, absorbing doc hasn’t quite enough time to entirely draw us into the lives and perspectives of its likable human subjects: We’re given sketched-in backgrounds and familial food histories, but their personalities remain somewhat elusive.
  3. Why watch Screened Out? Because it shows you something you didn’t know.
  4. The script of The High Note, by Flora Greeson, is long on wish-fulfillment and short on inside authority, and the director, Nisha Ganatra (“Late Night”), stages it with a hit-or-miss geniality that keeps cutting corners on the story’s emotional honesty. The feel-good factor hovers over this movie like a fuzzy bland cloud.
  5. Actor Philip Barantini’s first directorial feature is nothing wildly original in content or style. Still, it punches both elements across with a satisfying low-key confidence, and does not shrink from occasionally letting things get pretty rough.
    • 26 Metascore
    • 30 Critic Score
    Arguably, the most exciting turn goes to a foxy, blue vintage Dodge Challenger. A small knot of cattle comes in a close second, scampering away from roar of the car chase. Because, yes, there’s got to be one of those, too.
  6. This isn’t the kind of storytelling that flatters the audience’s intelligence, and yet, spelling things out ensures that viewers who don’t like to work too hard can follow along easily and focus on the film’s other pleasures — namely, Pearce’s performance and the twisty case of the missing “Vermeer.”
  7. Take Me Somewhere Nice has fun with the ride yet feels too derivative to leave much of an impression beyond a few vibrantly colored images.
  8. Taken as a celebration, however, both of the woman herself and the food to which she has dedicated her life, “Nothing Fancy” is cinematic comfort food of the first order.
  9. No community is as straightforward as it seems in Zhuk and Landauer’s irony-rich, tone-switching script: What begins as a kookily comic quest is complicated by the emergence of human tragedy, prejudice and sexual threat.
  10. This overlong tale spends most of its nearly two hours as a somewhat draggy, talky mystery before finally deciding to be a thriller, with credibility lacking throughout.
  11. Bits and pieces of the movie are funny.
    • 37 Metascore
    • 50 Critic Score
    Intriguing, though not exactly visionary; it’s more twisted puzzle than horror ride. Not that there aren’t jumpy moments, and tense interludes.
  12. A wise, graceful but viciously felt study of middle-school best friends whose bond becomes a burden the further they recede into adulthood, it resorts neither to buddy-movie cliché nor melodramatic angst in portraying the ways we outgrow our friends, and they us.
  13. The Trip to Greece marks a spirited and convivial return to form, even if it’s lofty enough to present Coogan and Brydon’s six-day journey through Greece as a retracing of the path of Odysseus.
  14. It’s an endless metamorphosis that unfolds like some kind of real-time art installation, and in all honesty, it can be a touch overwhelming to take in at times — which is why the digital release of The Wolf House is a blessing in disguise, as audiences can rewind to fully appreciate this awe-inspiring film’s layers of details.
  15. It’s one of the most daring films ever made, not so much because of anything it overtly depicts as what this controversial classic reveals about the infinitely complicated psychology of human sexuality.
  16. This attractive but calculated attempt to connect 'Scooby-Doo' to other Hanna-Barbera characters abandons the show's fun teen-detective format.
  17. Sudden surges of emotion seem to guide its shuffling of symbols, techniques and points of view.
  18. The result is an earnest, sometimes skillful effort that nonetheless often feels slack and underwritten, as well as ultimately less-than-rewarding.
  19. The Wrong Missy is a harmless dumb-meets-smart-mouth comedy that doesn’t necessarily feed your appetite for more Netflix throwaways. But it does make you want to see Lauren Lapkus’s next act.
  20. It’s mostly a vanilla documentary with no real destination, but one with plenty of cuteness to go around.
  21. Those looking for much in the way of real insight will find this amiable enterprise doesn’t stray very far from a general, standard-stoner-yuks tenor of “OMG I was SO HIGH!!!”
  22. Handsomely shot and small of scale, Capone ambles along without catching fire. That’s because the movie, at heart, is shaped as a pedestal for Hardy’s prankish mumbly Method showboating.
  23. Kubrick by Kubrick is most interesting for the ways that it undercuts the Kubrick mythology.
  24. There’s a floridly sentimental heart fluttering beneath its tastefully solemn surface, but at times, you can’t help wishing the film would give in to its more expressive impulses.
  25. Will there be young people who love this movie as much as their parents loved Coolidge’s “Valley Girl”? Sure, that’s bound to happen, but no one will be talking about this movie in 37 years. And with no new music — just second-rate covers of classic songs — it may well be forgotten in fewer than 37 days, lost to the void of VOD.
    • 55 Metascore
    • 60 Critic Score
    It’s too early to state for sure, but restraint appears to be one of Gallagher’s gifts — the kind that rewards moviegoing patience. With this first feature, Gallagher spins a yarn, also peeling a story of attraction and power, identity and coming-of-agency. Only this Clementine is no toss off.
  26. Neither emotional enough to pay proper tribute to the true story it captures, nor hokey enough to qualify as “so bad, it’s good,” this is a flaccid, failed attempt at heart-tugging poignancy.
  27. Far more than the memoir, the film presents a manicured version of the way Michelle Obama sees herself — and yet, even such a carefully image-managed impression can be telling, since it diverges so significantly from the way the world perceives her.

Top Trailers