Entertainment Weekly's Scores

For 6,163 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 (500) Days of Summer
Lowest review score: 0 Snow Day
Score distribution:
6163 movie reviews
  1. It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
  2. The skating scenes, too, are thrilling, but Robbie is the real revelation. In a performance that goes far beyond bad perms and tabloid punchlines, she’s a powerhouse: a scrappy, defiant subversion of the American dream. You won’t just find yourself rooting for this crazy kid; you might even fall a little bit in love.
  3. A quietly dazzling microcosm that's always just this side of eerie, just that side of tragic.
  4. Which brings us back to Kidman, who really IS sensational here.
    • 76 Metascore
    • 91 Critic Score
    Vallée has taken a contemplative book where, frankly, very little happens and transformed it into a gut-punching drama.
  5. The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
  6. Hugo both ticks and flies by, a marvel meant to be pulled from the cabinet and enjoyed again and again.
  7. Up and Down captures Prague life with a fervor that's comical but a longing that's serious; no one is easy to pigeonhole.
  8. Watching Bounce, you look at him (Affleck) and believe how much he's got at stake, and you look at Paltrow and know why.
  9. Duck Season unfolds with a slaphappy logic that only looks casual. In fact, every unfinished conversation and banal picture on the wall (one's of ducks) matters as four little people share one memorable little day.
  10. I mean no impertinence when I say that as a portrait of love and grief, writer-director Mike White's exceptional film Year of the Dog deserves the same admiration accorded Joan Didion's exceptional memoir "The Year of Magical Thinking."
  11. Something marvelous happens as the filmmaker, in his first feature, expertly metes out small scenes of communication between people taught, for generations, to be wary of one another: This Band swings with the rhythms of hope.
  12. It's a crackerjack B movie worthy of comparison to such stylishly low-down, smart-meets-dumb, hyper-violent entertainments as the 1997 Kurt Russell thriller "Breakdown," Clint Eastwood's infamous police bloodbath "The Gauntlet," John Carpenter's original "Assault on Precinct 13," and Arnold's own overlooked 1986 outing "Raw Deal."
  13. The film is like East of Eden replayed as a hyperbolic rock fever dream. There are a few sour, juvenile moments, but this is the rare pop movie that works the way a great rock & roll song does: It tells a simple, almost elemental tale and uses the music to set it aflame.
  14. The very title The Departed suggests a James Joycean take on Irish-Catholic sentiment when, of course, this story is anything but: It's Scorsesean, and he's in full bloom.
  15. Shrewd, tough, and lively -- a junior-league "One Flew Over the Cuckoo's Nest."
  16. A mesmerizing work of disturbing power and unease.
  17. The real joy of The Gift is getting to that twisted goodness, because more than anything, Edgerton’s script and direction demonstrate a keen understanding of tension and what puts an audience on edge.
  18. Smith transfers an Iowa-based short story by Randy Russell to India's western Goa region -- and works in Hindi, primarily with novice actors. The result is a story both authentically specific and profoundly global.
  19. His (Townsend) staging has a tumult, a multi-POV immediacy that brings to mind Paul Greengrass' "Bloody Sunday."
  20. This deliciously feisty doc contextualizes their verbal brawls and the odd love-hate (mostly hate) rivalry between two men who seemed able to regard their own sense of heroism only through the other’s villainy.
  21. Lives happily ever after because it's such a feisty but good natured embrace of the inner ogre in everyone.
  22. Film music by Nino Rota provides a Fellini overlay.
  23. This truly intimate film invites viewers to commune as well and feel a profound living connection with fellow humans of 30,000 years ago.
    • 72 Metascore
    • 91 Critic Score
    In Martin Provost’s graceful biopic, Emmanuelle Devos plays Leduc as a powder keg of a woman who used her loneliness and insecurity as the explosive fuel for her work.
  24. In a bold move that pays off, the movie jettisons dialogue altogether and tells its whole story through barn-animal noises, goofy sound effects, and sight gags so silly they’d make Benny Hill spin in sped-up ecstasy. The effect is contagiously cute.
  25. The Cockettes weren't talented, exactly, yet the bedazzled flakiness of their passion takes you closer than just about any movie has to what was once really meant by the term ''free-spirited.''
  26. Clooney certainly brings out the best in his actors, but his driving trait as a filmmaker is that he knows what plays - he has an uncanny sense of how to uncork a scene and let it bubble and flow.
  27. Traces the sport to its Polynesian beginnings, then zooms in on the genesis of 20th- century Southern California surf culture -- the boards, the bikinis, the laid-back cowabunga.
  28. Fehling gives a commanding physical performance as he transitions from ambition to despair to, finally, resolve.

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