Entertainment Weekly's Scores

For 5,151 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: 65
Highest review score: 100 Personal Velocity: Three Portraits
Lowest review score: 0 The Perfect Man
Score distribution:
5,151 movie reviews
  1. Hamilton, in her movie debut, is a find: the kinkstress next door.
  2. A rousingly square romantic epic spiced with dashes of sex and bloodlust; it's "Robin Hood" meets "The Last of the Mohicans" meets "Death Wish".
  3. Through it all, Natalie Maines' decision to shirk humility, to stick by her guns, to the point that the group returns to that London concert venue in 2006 and she utters the same joke again, becomes a feisty and inspiring act of something there is only one word for: patriotism.
  4. The movie IS a provocation, but not a glib or ideologically myopic one.
  5. Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
  6. Bale is mesmerizing and Rodriguez keeps up with him as the whole unsafe contraption zooms.
  7. Naturally, a subject this right-on draws a right-on cast. Kris Kristofferson, Avril Lavigne, and Ethan Hawke pitch in.
  8. I'm as touched and charmed by its failures as I am transfixed, at times, by its successful inventiveness and audacity.
  9. Dreamgirls is the rare movie musical with real rapture in it.
  10. After a lifetime of flogging the demons of cosmic despair, Ingmar Bergman, at 88, comes off as lean and vigorous in this fascinating memoir-interview.
    • 62 Metascore
    • 83 Critic Score
    Sucking at the top of many a can, and greedily slurping the sides of an overflowing bottle, Nolte gives a master class in how to drink a beer on screen. The rest of his work here is sad, understated, and worth seeking out.
  11. The always surprising Watts creates a woman at once contemporary and retro. And Norton, as a producer as well as star, concedes enough space for Schreiber and the effortlessly fascinating Jones to earn their own spotlights.
  12. It's a beautiful and understated performance, one that hums with a richer, quieter music than Smith has mustered before.
  13. The soft-spoken, impressionistic documentary (with a hypnotic score built from the sounds of construction) climaxes with a six-minute helicopter-cam view of the colossal structure to which these somebodies have been dedicating their sweat, and sometimes their very lives.
  14. After teeny indies, this studio release retains the trademark love of warped American gothic that the Polishes share with David Lynch and the brothers Ethan and Joel Coen. But the unexpected streak of yearning sunniness -- the Spielbergian touch of boyhood dreams propelling a grown man -- gives The Astronaut Farmer a warmth that's new for them.
  15. John Hurt is magnetic as a Catholic priest running a school where terrified Tutsi have taken refuge, while Hugh Dancy, as a naive teacher, represents white commitment to black Africa at its most impotent and unreliable.
  16. Pride doesn't have much surprise, but it's a formula picture of genuine feeling.
  17. When C-Diddy (a.k.a. David Jung), in his samurai superman suit, does his note-perfect, lip-twisting, belly-jiggling manic mime of Extreme's ''Play With Me,'' it's hard not to grin and admit that, yes, this is almost an art form.
  18. First Snow is essentially a short story with a metaphysical twist, but Pearce puts his fears more up front than any actor I can think of.
  19. Eight months of interrogation and torture in fetid Abu Ghraib followed before he was released, innocent. None of The Prisoner's showy flourishes -- animation, sound effects, fancy editing -- can match the power of Abbas' stillness as he describes one man's agony in one huge hell.
  20. Almodovar is positively mature, adapting a novel by Ruth Rendell so deftly that the plot now also describes the invigorating and sometimes disorienting effects of democracy after long years of repression under the Franco regime.
  21. The grand old filmmaker frames each scene like a fine painting. And fake snow falls with happy artificiality between rueful vignettes.
  22. In the very funny cop comedy Hot Fuzz, overachieving London police officer Nicholas Angel (Simon Pegg) commits a very British sin: He's too good.
  23. Fracture is working on us, playing us, but that's its pleasure. It makes overwrought manipulation seem more than a basic instinct.
  24. The generosity and gorgeousness with which Aussie writer-director Stephan Elliott (and costume designers Lizzy Gardiner and Tim Chappel) turn this most unlikely road picture into something arresting - if a tad sentimental - in its naive vision of a perfectly tolerant world.
  25. The film knows how absurd this is, yet its triumph is that, by the end, we're actually rooting for Mary to see the library as her salvation.
  26. Excels at creating a keen, creepy sense of a civilization stopped dead in its tracks -- vaporized, almost, except for those disemboweled bodies left still undisposed.
  27. The movie, like the book, is a work of opportunistic gamesmanship, a luridly farfetched conspiracy thriller masquerading as an inquiry into the zeitgeist. You can't take Disclosure very seriously, yet the film has been made with cleverness and skill, and with a keen eye for the latest styles in corporate paranoia and ruthlessness.
  28. Bug
    The enjoyably icky heart of Bug is still contained within the airless, increasingly ''bug-proofed'' room that becomes Agnes and Peter's whole world.
  29. Steel City could have used more rhythmic drive, but if Jun keeps weaving together characters this compelling, he could be a major film artist in the making.

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