Entertainment Weekly's Scores

For 5,092 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Being Elmo: A Puppeteer's Journey
Lowest review score: 0 But I'm a Cheerleader
Score distribution:
5,092 movie reviews
    • 78 Metascore
    • 91 Critic Score
    Neither the stars' harmonious interplay nor director Anand Tucker's insistent urbanity of camera work can disguise that the cello drama is melodrama.
  1. A warm embrace of tradition and boisterous, ethnographically rich local culture.
  2. Funny, pungent, and weirdly gripping.
  3. Gorgeously shot tableaux of random adolescent brutality are interrupted by flashes of computer garble and chat-room talk, backed by ''Lily's'' music, with its blend of Debussy-like arpeggios and Enya-like sighing.
  4. The film satirizes, and celebrates, an idea pivotal to both Hollywood and love: that in a world of impostors, the pretender with the most conviction can become exactly what he pretends to be.
  5. Linklater has hardly been a slacker this year. I'll take the tricky confrontational babble of Tape over some of the gauzier soliloquies in ''Waking Life,'' but either way, he's a filmmaker in love with the music of talk, and let's bless him for that.
  6. Lynch's first movie since ''Blue Velvet'' that truly envelops you in its spell. It's a piece of celestial Americana -- his journey to the light side of the moon.
    • 76 Metascore
    • 91 Critic Score
    It's the electric interplay between Pacino and Depp that will make it a Mob movie classic.
  7. The savviest and most exciting Bond adventure in years, and that's because there's actually something at stake in it.
  8. Mitchell directs and stars in the riotous, loving, and only occasionally pathos-milking film adaptation of his own acclaimed Off Broadway play, with great up-your-ante music and lyrics by Stephen Trask.
  9. Turns out to be a supple, intriguing, and beautifully staged movie. It features Dillon, in his most forceful performance since ''Drugstore Cowboy.''
  10. The unlikeliest enthralling movie to be released so far this year.
  11. The movie might almost be winking at the fact that any single one of these performers could easily be the featured star of his or her own upper-crust period piece.
    • 71 Metascore
    • 91 Critic Score
    Unfolds with such unforced inevitability that absurdity never condescends to sticky adorableness.
  12. Hoffman plays Dan Mahowny's addiction to instant money as something dirty and private and, at the same time, soul-quickening.
  13. A quietly dazzling microcosm that's always just this side of eerie, just that side of tragic.
  14. Goes where all too few films dare to venture these days -- into the heart of moral darkness.
  15. Bean's commitment to serious theological examination is exciting, Gosling's performance is riveting, and this fiery and imperfect feature shines as a demonstration of independent filmmaking at its most uncompromising.
    • 78 Metascore
    • 91 Reviewed by
      Ty Burr
    From the opening shot of a burnt-orange GTO cruising a high school parking lot to the strains of Aerosmith's ''Sweet Emotion,'' Richard Linklater's film nails mid-'70s adolescence so precisely that you'll need Clearasil by the end credits.
  16. Does more than capture the excitement of marching bands; it gets their clockwork beauty as well.
  17. Movie stars radiate a power -- physical, erotic, spiritual -- that draws an audience into their orbit. Yet watching Curtis Hanson's gritty and electrifying 8 Mile, the first thing you notice about Eminem, the most scaldingly powerful artist in pop music today, is how vulnerable he looks.
  18. Lathan, charismatic and beautifully strong, holds the screen in every scene.
  19. Minghella makes an enticing, intelligent, well-shaped picture about the extreme perils of class envy and sexual panic.
  20. Dark and giddy at the same time, Leaving Las Vegas takes us into dreamy, intoxicated places that no movie about an alcoholic has gone before.
  21. There aren't many at all like Spielberg and Kubrick, directors willing to lasso dreams (that's Steven) and nightmares (that's Stanley) or die trying. A.I. is a clash of the titans, a jumble, an oedipal drama, a carny act. I want to see it again.
  22. What matters for today's hero is the good fight, and Gladiator KOs us with a doozy.
  23. Noyce's movie works because the director -- trusts himself, and his audience, to understand that catastrophe isn't always a matter of loud ideology. Rather, it's the result of age-old human weakness. And sometimes it's quiet.
  24. Expertly sinister, office-as-devil's-playground French thriller.
  25. Emotional presence and a sophisticated understanding of commitment-phobia (as something other than a comedic punchline or an excuse for sex scenes) distinguishes this intense, contained drama, as does the unforced, sensual, and sensitive cinematography of Uta Briesewitz.
  26. A richly tender and moving experience.

Top Trailers