She also appeared in The Princess Bride ( 1987 ) and Scrooged ( 1988 ), with Bill Murray, in which Variety called her " unquestionably pic's comic highlight.

Variety found the picture to be well-made, despite what it called the " heavy doses of gore ".

On 16 December 2010, Variety reported that Gilliam is to " godfather " a film called 1884 which is described as an animated steampunk parody of George Orwell's Nineteen Eighty-Four, with several former Pythons lending their voice talents to the project whereas Gilliam will be credited as " creative adviser ".

Jonathan Holland of Variety called the film " emotionally satisfying and brilliantly played " and commented, " The emotional tone is predominantly dark and confrontational.

Variety called the film " intense drama " and " a nicely produced offering Bette Davis in a powerful and impressive role.

Time Magazine called the film " superb " while Variety stated that " Hitchcock deftly etches his small-town characters and homey surroundings ".

Variety magazine called the film a " stirring epitaph " and a " sentimental, romantic saga ... well worth seeing.

They also appeared together recalling their music hall days in a one-hour special on ITV on 2 March 1983, called Eric & Ernie's Variety Days.

" Variety called it an " amusing, diverting, handsomely executed poke at youthful attitudes ".

Variety called it a " brutal satire from the streets ".

Variety called it an " offbeat film " that " moves too slowly " and added, " There is very little dialog-most of which is very good-but this asset makes a liability out of the predominantly visual nature of the development, which in time seems to become redundant, padded and tiring.

Todd McCarthy of Variety called the film " a sporadically amusing but listless thriller that wears its humorous, romantic and political components like mismatched articles of clothing.

Variety called it an " effort-less effort ", but praised the photography.

Variety called the film " a rich canvas of the Roaring ' 20s, with gutsy and excellent performances.

The New York Times described it as " fantastic fun " and Variety called it " brilliantly caustic ", but the Los Angeles Times called it " snail-slow, shrill and gesticulating " and Newsweek said it was a " sledgehammer satire ".

" Similarly, Variety called it " a splendidly disturbing look at the power of sloppy reporting to inflict harm on the innocent.

Charles Isherwood of The New York Times called it " dismal " and Steven Suskin of Variety wrote that it had " a tunestack only one quarter as imperishable " as Jersey Boys.

In 1983, Variety magazine called Vaughan the " guitar hero of the present era ".

" Variety called the show " forced and derivative ," " bland " and " predictable and silly " while conceding that the sex is " no more outrageous than daytime soapers, no more outspoken than Three's Company.

" Todd McCarthy of Variety called Farrell " first rate " and noted that he worked well as an ensemble actor " graciously allowing star Alison Barry to steal every scene she's in.

Variety said the film was " consistently funny, though more academic than boulevardier ", and the Christian Science Monitor called it " amazingly funny and poignant ".

Variety called it " a distended, talky, redundant and moody melodrama " and added, " The overemphasis on Streisand makes the film just another one of those Streisand vehicles where no other elements ever get a chance ".

In his analysis of the Eroica, released on a 1953 Book-Of-The Month Recording and published in his book The Infinite Variety of Music, Leonard Bernstein called the first two movements of the work " perhaps the greatest two movements in all symphonic music ".

Some critics talked more positively of the film, with Variety calling it " an elegant looking, period romantic charade ".

On 23 October 2011, Variety reported that Elwes will make his directorial debut with an independent film, Elvis & Nixon.

Todd McCarthy of Variety gave the film a B + judging that " Coppola finds creative nirvana, he frequently has trouble delivering the full goods.

According to Moodysson, the problem with the original title started when the film was Sweden's candidate for the Academy Awards, though it was eventually not chosen as a nominee: the Hollywood industry magazine Variety refused to run an advertisement for a film with that title, and thus American distributor Strand Releasing asked for a new title to be chosen.

In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights ( Luci del varietà ), his first feature film.

Derek Elley of Variety described the film as " playful and sporty ," saying that this was Dunst's best performance to date: " Believable as both a spoiled ingenue and a lover to two very different men, Dunst endows a potentially lightweight character with considerable depth and sympathy.

Cruz's performance in the film was praised by film critics, with Jonathan Holloland of Variety magazine writing " if confirmation is still needed that Cruz is an actress first and a pretty face second, then here it is.

Variety reported that Cruz had originally auditioned for the role of the film within a film's star, Claudia, which eventually went to Nicole Kidman.

According to a Variety article by Peter Bart in the May 15, 2005, issue, Nichols had become obsessed with Simon and Garfunkel's music while shooting the film.

Response from Variety after the initial release reflects the outrage generated by Romero's film: " Until the Supreme Court establishes clear-cut guidelines for the pornography of violence, Night of the Living Dead will serve nicely as an outer-limit definition by example.

When first released, the staff at Variety magazine gave the film a positive review, writing, " Crossfire is a frank spotlight on anti-Semitism.

In 1952, Variety wrote that the film " effectively serve the purpose of a framework for all the atmosphere and excitement of the circus on both sides of the big canvas.

On 12 August 2008, Variety reported that Universal Pictures had optioned the rights to produce feature film adaptations of The Wheel of Time books.

Todd McCarthy of Variety described it as " emotionally powerful and stylistically sure-handed " and that the film ’ s characters and social commentary were brought into the story with an " almost breathtaking deliberation ".

The film met with generally positive reviews ; Roger Ebert gave it three and a half stars and described it as a " very good film ... with moments evoking great emotion ", while Variety Todd McCarthy wrote, " Inspirational on the face of it, Clint Eastwood's film has a predictable trajectory, but every scene brims with surprising details that accumulate into a rich fabric of history, cultural impressions and emotion.

In reviewing the film's sequel twenty-three years later, Variety noted that though the original film was " Intended as a cautionary tale on the pitfalls of unchecked ambition and greed, Stone's 1987 original instead had the effect of turning Douglas ' hugely charismatic ( and Oscar-winning ) villain into a household name and boardroom icon -- an inspiration to the very power players and Wall Street wannabes for whom he set such a terrible example.

Variety, too, very much liked Beery in the film, noting that he delivered a " studied, adult " performance.

Variety said the film " asks the spectator to believe in the improbable.

Noted reviewer Graham Greene was effusive that this was Capra's finest film to date, describing Capra's treatment as " a kinship with his audience, a sense of common life, a morality ..." Variety noted " a sometimes too thin structure the players and director Frank Capra have contrived to convert (...) into fairly sturdy substance.

According to a 1986 Variety interview with Frank Capra, Jr., his father had wanted to shoot the film in color, but because the only suitable stock footage he intended to incorporate into the film, such as scenes from a documentary about the Himalayas, was in black and white, he was forced to change his plans.