Entertainment Weekly's Scores

For 5,467 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: 66
Highest review score: 100 Ponyo
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,467 movie reviews
  1. It's a good bet the average American moviegoer, however familiar with the rhythms of cinematic global culture, has never experienced such a handsomely self contained world.
  2. Well-made film. Indeed, discovering such a small pleasure is the kind of experience that rewards film lovers who browse with open eyes as well as hearts.
  3. Where ''Rushmore'' surprises and delights with its spiky depiction of sprawling American idiosyncrasy, Tadpole's more urbane, less complicated charms are specifically made in New York City.
  4. Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  5. Palmetto has a satisfyingly deceptive plot that ultimately takes one too many turns.
  6. Depp's performance is more than just funny - it's ghoulishly endearing.
  7. Although it shares a bitter interest in slum desperation with last year's Brazilian-underbelly docudrama ''City of God,'' Bus 174 pulls ahead, I think, by not confusing cinematic pizzazz with the content of misery.
  8. It's an indelibly warped cartoon of lust and despair.
  9. Baumbach's movies are addictive dispatches from a genteel jungle of white privilege, where highly educated people behave badly. I can't take my eyes off the exotic wildlife.
  10. The interviews Bitton conducts, almost all with Arabs and Jews who share her despair, are less meaningful than what she captures in silence: the sight of farmers separated from their farmland, everyday people thwarted in their dailiness, and children playing next to what looks like prison walls.
    • 64 Metascore
    • 83 Reviewed by
      Ty Burr
    Fine candy for mind and eye.
  11. The movie IS a provocation, but not a glib or ideologically myopic one.
  12. A lickety-split, madly packed, roller-coaster entertainment that might almost have been designed to make you scared of how much smarter your kids are than you.
  13. A sly catalog of deceits and a gentle commentary on slippery creativity and desire.
  14. Scott gets into the zip and rush of urban energy with an enthusiasm bordering on hilarity.
  15. The rare case in which a filmmaker's unadulterated worship of his subjects adds force and resonance--and not just luster--to the way that we see them.
  16. Paul Leonard-Morgan's thumping techno soundtrack is thrilling. And Urban manages to give a credibly wry performance using little more than his gravelly, imitation-Eastwood voice - and his chin.
  17. Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
  18. The performances are vividly alive.
  19. If you want to hear juicy inside tales of the scams devised by Lee Atwater, the right-wing visionary of media-age dirty tricks, you'll find loads of them in Boogie Man.
  20. Some of the effects remain nicely repulsive; Freddy himself comes across as a genuinely nasty piece of work, far removed from his later incarnation.
  21. I wish that the film had more of the tasty futuristic detail promised by that dummy parole officer. I also wish that Blomkamp took us deeper into the world of Elysium.
  22. Let's face it: Lizzie McGuire (Hilary Duff) is just too darn polished to be a junior-high underdog, even by the standards of her 'luxe suburban environs.
  23. Terry Gilliam-ish territory here, spiked with imagery from Holocaust nightmares and drug trips. Attention, university film clubs: Here's your cult-ready midnight-movie programming.
  24. A touching drama from British art-house filmmaker Sally Potter, who broke through to wider audiences with 1992's "Orlando" and has now made her most mainstream movie yet.
  25. In terms of storytelling, The Avengers is for the most part a highly functional, banged-together vehicle that runs on synthetic franchise fuel. Yet the grand finale of CGI action, set in the streets of New York, is - in every sense - smashing.
  26. While inevitably oversimplified, is never less than engrossing.
  27. Art history majors may write in with corrections. Meanwhile, I'm declaring that the masterly, big-canvas biographical drama Chi-hwa-seon: Painted Fire is about the Jackson Pollock of 19th-century Korea.
  28. Fans will gorge on this deft, year-by-year portrait of the ultimate enduring cult band.
  29. An unexpectedly alert teen-scream disaster chiller.

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