Entertainment Weekly's Scores

For 5,249 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Bubble
Lowest review score: 0 Bangkok Dangerous
Score distribution:
5,249 movie reviews
  1. He rarely allowed himself to be interviewed, but Henri Cartier-Bresson, here nearing 100, comes off as a marvelous, spritely, and companionable figure.
  2. James Westby's loving and self-aware homage to mouth-breathing boys who worship Wong Kar-Wai and can't talk to girls is the opposite of Tarantino-esque: It's Westby-ish, interspersing settings of biting social oafishness with spasms of film knowledge.
  3. Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
  4. There's something invigorating about this unpretentious dog tale. And if a penguin drops by to promote his own movie product, well, there's room on the frozen continent for all.
  5. A helluva lot happens in 16 Blocks - an outrageous amount, really, along with a coda that deposits the audience squarely at a movieland finale. Who knew that looking both ways before crossing is where the real action is?
  6. A fascinating glimpse at the perils of ''exporting'' democracy.
  7. For whatever reason, Michael Collins is a troublesome movie, a film about a religious war in which religion is almost entirely absent; a flick that gives us our kicks with thrillingly shot terroristic violence while paying lip service to pious antiviolence sentiments.
  8. This moving film explores the trauma of a Holocaust survivor with rare complexity.
  9. Return to Paradise is "Midnight Express" remade from the outside, as existential quandary. It has the moody, disquieting undertow of a true moral thriller.
  10. Children bumps into a few dead spots along its irreverent way... But casual sophistication and wiggy Australian self-awareness give this product of unreconstructed bourgeois decadence its idiosyncratic charm.
    • 89 Metascore
    • 83 Critic Score
    Surprisingly, given Lee's penchant for experimentation, there's nothing remotely innovative about this sober, often intensely moving exploration of a community's lingering grief and outrage -- just the usual talking heads, stock footage, montages of stills, and such.
  11. Cynical and cheerily merciless.
  12. Ice Age: The Meltdown blithely looks on the bright side of life, amassing a screen full of vultures to sing and dance ''Food Glorious Food'' and daring us not to get happy.
  13. There are times (and plenty of them) when Slither slops over from smart, affectionate homage into unmodulated frat goofiness as Gunn cannibalizes so many horror plots with such high spirits.
  14. Johnson also grabs hold of a fundamental truth and seduces us with it: The schoolyard can be the noirest burg of all.
  15. A fascinating and lovingly crafted musical documentary that nevertheless misunderstands its own subject.
  16. A blithe, funny, and engaging movie.
  17. Hard Candy is extreme - a battle of the sexes that glides from tricky to angry to shockingly ugly.
  18. The movie, in a sense, is just like Bettie's photos: all glorious surface. The Notorious Bettie Page captures, with seductive finesse, how Bettie Page happened, yet what it leaves us with is the tantalizing enigma of a girl who couldn't truly be ''bad'' because she made sex divinely delicious.
  19. Ineffably Australian and intriguingly (rather than annoyingly) artsy, Look Both Ways introduces a handful of people gobsmacked by life-changing crises, all of them trying to make sense of responsibility, mortality, and connection.
  20. Blessed with excellent turns by Angela Bassett and Laurence Fishburne, this feel-gooder revels in its hip-to-be-square hyperliteracy, and neatly exceeds its own PSA-ness, practically amounting to a black, preteen "Good Will Hunting."
  21. A gratifyingly clever, booby-trapped thriller that has enough fun and imagination and dash to more than justify its existence.
  22. It's a buoyant, old-wave disaster pic for a generation of well-conditioned thrill seekers charmed by the revelation that Richard Dreyfuss really is the Red Buttons of our day.
  23. The visual and verbal jokes are as bouncy and multilevel (hip height for adults, knee-slap-size for kids) as we have come, no doubt selfishly, to expect from DreamWorks.
  24. Gehry sketches and free-associates about how he's not nearly the menschy aw-shucks pussycat from Canada he appears to be but rather a wily, complicated L.A. lion.
  25. The movie, which has the slightly glum perversity of early Chabrol, is a dream of betrayal, with the squirmiest attack-of-nature tableau since Willard.
  26. What sustains the film is the performers' belief in their shaggy-dog selves, which is more than just talent - it's faith.
  27. A breakneck inner-city odyssey of jump-cut shaky-cam suspense.
  28. The film is a furious full-court press, its subjects aflame with the kind of passion only youth can furnish.
  29. Director Sérgio Machado, who worked as an assistant to Central Station's Walter Salles, lingers sensually over every wrong move his attractive tragic trio make.

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