Variety's Scores

For 13,428 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: 61
Highest review score: 100 Cinderella Man
Lowest review score: 0 Some Kind Of Beautiful
Score distribution:
13428 movie reviews
  1. This fever dream feels more derivative than distinctive, entertaining and eventful as it is. Still, it’s a well-cast, well-crafted stab at something offbeat.
    • 81 Metascore
    • 80 Critic Score
    That Jezebel is making its way around the country and will begin streaming is a sign of DuVernay’s pull and her commitment to black creatives. Tiffany’s journey has its ascents and plunges. Perrier and her star keep us caring where it will end: peak or valley?
  2. What should have been an awe-filled adventure quickly curdles into an awful one, thanks to a pedestrian formula and the filmmakers’ fixation on fart jokes.
  3. In the end, the story’s custom reenactment gimmick may not even have been necessary, so well-written and executed is the personal journey that underlies it.
  4. Will Smith and Martin Lawrence bring their A game; they never let us feel as if they’re going through the motions. The marks may be standard issue, but they hit them with fury and flair.
  5. All of this makes for compelling dramatic conflict, and it’s satisfying to watch an impostor shake up the status quo. But there’s also a soap opera-like dimension to Corpus Christi that threatens the more thoughtful aspects of the script.
  6. It’s a cheap, unloving death march of a movie — scarcely made more intriguing by the half-cooked theory it posits as to who (or how many) did the deed.
  7. As Malti, Indian superstar Deepika Padukone relies less on exceptionally convincing makeup than straight-from-the-heart conviction to give her multifaceted performance the solid ring of truth.
  8. In his sophomore feature, the France-born, Budapest-based helmer (perhaps best known for his prize-winning 2018 short “Chuchotage”) sensitively establishes and sustains an affecting but understated dramatic tone, aided by his superb leads.
  9. As audiences, we trust filmmakers to do a reasonably accurate job of representing stories based in truth, and we get angry when they take the kind of liberties Avnet and company allow themselves here. As if it weren’t bad enough that Three Christs were boring, it’s impossible to believe, and for that, there is no cure.
  10. Reid meticulously investigates why Dr. Dagg’s groundbreaking work didn’t quite collect the widespread acclaim that it deserved. Underneath it all lies a heartbreaking tale of a driven woman stifled by institutional misogyny — a fascinating story stunt coordinator-turned-filmmaker Reid patiently approaches from various captivating angles.
  11. It’s Looks 10, Personality 4, however, as director Andrew Desmond and collaborator Arthur Morin’s screenplay doesn’t quite provide enough incident to properly milk its own premise, making for a supernatural thriller that ends just as it’s beginning to work up a sweat.
  12. Shinkai hasn’t gone far enough into fantasy to excuse the enormous holes in his script, though he does a nice job of distracting us with detail.
  13. The film — in tandem with Lacoste’s lovely, unguarded performance — works as a magnified study in coping, charting the stages of his jumpstarted growing-up alongside the more meandering course of his grief.
  14. Costa’s elongation of time (made more acute since there’s rarely enough light coming from the screen to check your watch) combined with his habit of doling out a few narrative details without exploration, results in a film that distances spectators not already in his thrall.
    • 73 Metascore
    • 70 Critic Score
    While Mystify in many ways amplifies the tragedy of Hutchence’s death, it also goes a long way toward explaining and humanizing it.
    • 32 Metascore
    • 70 Critic Score
    Its economic message might be fuzzy. Its feminism, too. But best-friend comedy Like a Boss rides Tiffany Haddish and Rose Byrnes’s frisky and believable chemistry to laughs — some worn, some crude, but more than a few delivered deftly and consistently enough to keep audiences smiling if not doubled over.
  15. Underwater is a stupefying entertainment in which every claustrophobic space and apocalyptic crash of water registers as a slick visual trigger, yet it’s all built on top of a dramatic void. It’s boredom in Sensurround.
  16. Patterson trusts that chemistry will compensate for a gentle thriller that chooses to impress with ingenuity and charm instead of special effects.
  17. The Grudge plods on as if it were something more than formula gunk, cutting back and forth among the thinly written unfortunates who’ve been touched by the curse of that house.
  18. Tsemel’s hard demands on her family and co-workers alike are kept in view: “Advocate” isn’t a bland hagiography, but a textured nonfiction character study of complicated heroism. You can’t challenge the system, after all, without being a bit challenging yourself.
  19. For all The Informer lacks in surface style — shot and scored as it is in functional, straight-to-VOD fashion — it remains a surprisingly well-oiled genre machine.
  20. The great pleasure of these films’ bright, largely wordless slapstick is that it plays universally whilst accommodating all manner of obsessive, idiosyncratic detailing at the edges.
    • 87 Metascore
    • 90 Critic Score
    The compositions are rich with multiple layers; they explore the depth of the cinematic space, and suggest invisible presences at the edge of the frame.
  21. Schematic and manipulative as it is, as a kind of team-effort between the New Zealand Tourist Board and whatever the Chinese equivalent of Hallmark is, Only Cloud Knows is, in the moment, undeniably effective at jerking tears.
  22. Story’s an original, and the film is a revelation — a movie that’s as deep as we’re willing to read into it, and an invaluable time capsule for summers far in our future, assuming we ever get there.
  23. Flat-footed storytelling meets fleet-footed choreography and sumptuous production values in the untaxingly fun Ip Man 4: The Finale.
  24. The actors, splendidly kitted out in autumnal suiting and knitwear by costume designer Michael Wilkinson, have what fun they can with such thin, dated material, but everyone here deserves better.
  25. Tom Hooper’s outlandishly tacky interpretation seems destined to become one of those once-in-a-blue-moon embarrassments that mars the résumés of great actors (poor Idris Elba, already scarred enough as the villainous Macavity) and trips up the careers of promising newcomers (like ballerina Francesca Hayward, whose wide-eyed, mouth-agape Victoria displays one expression for the entire movie).
  26. The Rise of Skywalker is, to me, the most elegant, emotionally rounded, and gratifying “Star Wars” adventure since the glory days of “Star Wars” and “The Empire Strikes Back.” (I mean that, but given the last eight films, the bar isn’t that high

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