Variety's Scores

For 15,820 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 2.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 IMAX: Hubble 3D
Lowest review score: 0 Is That a Gun in Your Pocket?
Score distribution:
15820 movie reviews
  1. For all the purity of its pedigree, and as agreeable and lightly touching as it sometimes is, I wish that Lyle, Lyle, Crocodile didn’t still seem, at heart, like a likable movie that had come out of the processor.
  2. The film, on balance, is cheery, sherbet-colored stuff, bursting with goodwill for all good people. What you remember from it, however, is each scene in which elder malevolence deliciously spoils the party.
  3. A phony, flimsy attempt at vintage noir.
  4. The new Hellraiser works as metaphor, as flesh-annihilating spectacle. Yet it doesn’t work as a story.
  5. The results, balancing overfamiliar warm-and-fuzzy growing-up saga and halfhearted horror revenge tale, evaporate quickly from the mind — there’s little cumulative force that might linger. Yet at the same time, Hancock does an admirable job keeping this hour and three-quarters polished and engaging, maintaining consistent viewer interest even if the ultimate reward underwhelms.
  6. It would take a tough constitution not to be moved by Till, although that doesn’t necessarily make it great drama.
  7. Kramer sketches out a feverish queer manifesto on gender that feels both novel and familiar.
  8. Though this ’80s-set horror-comedy takes an old-school approach to capturing the horrific happenings, the stunts are lackluster and the comedic hijinks are a tiresome bore. With very little interest conjured from the filmmakers to properly develop their characters, there’s little incentive to stay interested.
  9. Existing sharply in such a naturalistic register that they scarcely seem scripted at all, all the film’s interactions are still so cleverly designed that despite being blurry with alcohol or attraction or self-analysis, they all highlight the funny, sad truism that no one human can ever really know what it’s like to be another.
  10. The film is a lot like its hero, Herman Munster: benignly dim-witted, Day-Glo in color, top-heavy with tomfoolery, lumbering in one direction and then the next, always cracking itself up in an innocently aggressive monster-mash way.
  11. Hocus Pocus 2 is actually the better made film, even if it amounts to little more than a stealth remake, with strategic decisions about the present-day and old-Salem witch trios being engineered to allow for more sequels, whether or not its star trio return.
  12. Sr.
    Sr. packs a wallop in the end, when it comes time for father and son to say goodbye.
  13. The Girl With a Bracelet comments intelligently on our culture’s propensity to sex-shame and emotionally instruct young women in particular — points which stand regardless of whether shedunnit or not.
  14. It’s both a highly entertaining movie and, by the end, a haunting one. It revels in Dalí’s artifice even as it mercilessly peels away his layers.
  15. Smile will likely be a hit, because it’s a horror film that delivers without making you feel cheated. At 90 minutes, though, with less repetition, it might have been a more ingenious movie.
  16. The result has all the red flags of a flop, but takes a strong enough anti-establishment stand — and does so with wit and originality — to earn a cult following. There’s too much ambition here to write the movie off, even if Amsterdam, like the history it depicts, winds up taking years to be rediscovered and understood.
  17. The film isn’t groundbreaking, but its subject most certainly was, and Hudlin has the good sense to get out of the way and give Poitier the spotlight, which shines all the brighter through the eyes of the talents who followed in his footsteps.
  18. This engaging economics lesson, bolstered by articulate experts and amusing animated sequences, would be right at home in high school and college classrooms. Heck, it would be a nice addition to Disney Plus, breaking up all the hagiographic puff-pieces on offer there.
  19. While in formal terms it’s more of a standard, reportage-based doc than any of his recent essays, it is also the rarest of projects: one in which a venerated member of an older generation of political activists communicates a fervent admiration for his younger counterparts and a deep, grateful optimism for the future they are building.
  20. Director JD Dillard dazzles with see-it-in-Imax airborne sequences, but the meat of the film focuses on the friendship between Brown (“Da 5 Bloods” star Jonathan Majors) and his white wingman, played by Glen Powell, the “Hidden Figures” actor who most recently appeared in “Top Gun: Maverick.”
  21. Reaching for the grandiose, it never grasps anything beyond the generic.
  22. Here, nothing stands out: The best episodes are merely good enough, and the worst just tiresome.
  23. At a bloated 134 minutes . . . your brain may well start to prune, the way fingers do when they spend too much time in water.
  24. Raymond & Ray is curiously alienating despite the two A-listers in the driver seat, some decent chuckles to spare and a handsome, cinematic finish courtesy of DP Igor Jadue-Lillo.
  25. Zlotowski’s deft, perceptive original screenplay is keenly attuned to the cutting emotional impact of a passing remark or overheard jab, and the unintended microaggressions that parents occasionally toss at their child-free peers.
  26. Master Gardener is all fingers and thumbs for much of its running time, kept sporadically in order only by the stern, trusty presence of Edgerton himself.
  27. Saint Omer challenges accepted ideas of perspective, of subjectivity and objectivity — and even of what cinema can be when it’s framed by an intelligence that doesn’t accept those accepted ideas.
  28. We
    Diop’s small but potent act of subversion, in choosing disparate lives and moments that could seem linked by a railway line and nothing more, is not just to enlarge the idea of who is meant by the collective French “We.” It is also to reclaim the selection process for inclusion within that tiny, divided pronoun.
  29. For large segments of its running time, “Good Night Oppy” is more than just a documentary; it’s an animated film as well — and a hugely entertaining one at that.
  30. It’s good of its type — just not quite good enough to linger once the lights have come up.

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