Variety's Scores

For 11,725 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 Inherent Vice
Lowest review score: 0 Rollerball
Score distribution:
11725 movie reviews
  1. It all seems slick, intense, and unpleasant in the same hollow way “Martyrs” did, because all the cruelty is so meaningless.
  2. Zoo
    Writer-director Colin McIvor adapts the true-ish story of how a handful of citizens came to the rescue of a baby elephant into an unlikely family film, one that will delight the kids (who see themselves portrayed as heroes) while leaving parents with a lot of explaining to do.
  3. It’s uneven practically by design, with a tone that slides all the way from kooky farce to anguished psychological study, just about held together by Mackenzie Davis’s lively, spiky turn in the lead.
  4. The film simply examines the prejudice that’s standing right in front of it. It’s chilling, but it’s the tip of the iceberg.
  5. "Soldado” may not be as masterful as Villeneuve’s original, but it sets up a world of possibilities for elaborating on a complex conflict far too rich to be resolved in two hours’ time.
  6. Uncle Drew may be tired, but it shows that one’s fundamental love for the game never gets old.
  7. The movie, while giddily entertaining and exciting in fits and starts, fails to coalesce into a satisfying whole.
  8. Billy Boy is the worst kind of grab for “indie cred”: It’s exasperatingly undercooked and arted-up, failing on basic levels of character definition and narrative coherence, too often feeling like a classic indulgence for pretty-boy actors playing tough.
  9. Hepburn’s film eschews the expected emotional progression of a grief drama by focusing as much on continuing pain as sudden mourning.
  10. Promised Land is a searching, flawed, let’s-try-this-on-and-see-how-it-looks movie. At times, it veers too close to being a standard Elvis chronicle, and at others its insight into our national neurosis may strike you as a tad ethereal. It’s an essay in the form of an investigation. Yet it’s the definition of tasty food for thought.
  11. At once tightly controlled and simmering with righteous fury, it’s gorgeously lensed, atmospherically scored and moves inexorably toward a gratifying payoff.
  12. It’s the rare kind of sprawling, costly hot mess that achieves instant camp gratification other fiascos must wait decades to ripen toward.
  13. This embarrassingly earnest film — produced by Charlize Theron — argues for the importance of doctors going the extra mile, when textbook diagnoses won’t do.
  14. It’s the stars who have to work hardest to sell this kind of egg-white confection, and so they do. Having both charmed individually in previous vehicles, Deutch and Powell combine to winkingly wholesome effect, bringing just enough human self-awareness to their tidy back-and-forth banter to make it palatable.
  15. With the right script, this trio could make a fantastic flick. Forget these “spectacular” men. These flawed women are plenty.
  16. With breathtaking elegance and stunning assurance, Ramón Salazar takes a melodramatic chestnut and makes it flower with unexpected emotion in Sunday’s Illness.
  17. Tag
    Tag leaves audiences energized and, dare I say, inspired, having delivered all that service of what ultimately amounts to a sincere celebration of lasting human connections.
  18. Shot in a functional, slammed-together manner that’s less sensually stylish than you’d expect from a music-video auteur, the film is a competent yet glossy and hermetic street-hustle drug thriller, less a new urban myth than a lavishly concocted episode. It holds your attention yet leaves you with nothing.
  19. [Travolta's] performance ain’t lousy, but the movie that surrounds it is, and it’s almost laughable to see this iconic star trying so hard on behalf of a project that is so compromised in its intentions.
  20. What was organic, and even obsessive, in the first outing comes off as pat and elaborate formula here. The new movie, energized as it is, too often feels like warmed-over sloppy seconds, with a what-do-we-do-now? riff that turns into an overly on-the-nose plot.
  21. It boasts snappy dialogue, memorable characters, and a gorgeously designed central location but doesn’t quite know what to do with any of the above.
  22. 211
    A rote, overstuffed compilation of genre cliches with pedestrian handling of action elements and frequent notes of maudlin contrivance.
  23. "People” represents a big step up from Haq’s more modestly scaled debut, but it’s a move she handles with assurance and aplomb. She develops the father-daughter relationship visually as well as verbally, showing the action from both their perspectives.
  24. The heist is fun and convincing without being dazzling, and some of the most amusing stuff in the film is just character comedy.
  25. Believer may be more impressive around the edges than at its core, but that doesn’t prevent it from delivering a pretty solid two hours of action and suspense that’s muscularly directed by Lee and stylishly shot by Kim Tae-kyung.
  26. Ensuring that most characters are neither all-good nor all-bad means “Guilty Men” is a much more human film than other dramas basing themselves on often clear-cut Westerns.
  27. Fox’s directing and script are so purposeful and direct that it can be very hard to watch The Tale without having to look away.
  28. The first “Jurassic World” was, quite simply, not a good ride. “Fallen Kingdom” is an improvement, but it’s the first “Jurassic” film to come close to pretending it isn’t a ride at all, and as a result it ends up being just a passable ride.
  29. Gorgeously shot for the big screen by multihyphenate Gilles de Maistre, it thoughtfully explores what makes the globe-trotting chef-businessman tick.
  30. True to its title, Westwood: Punk, Icon, Activist is chiefly out to gild a remarkable, independent legacy. As the film unrolls its rousing, “Bolero”-scored closing montage of the stunning catwalk visions Westwood has given the fashion world over four decades, you can hardly say it’s undeserved.

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