Entertainment Weekly's Scores

For 5,321 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 Kurt Cobain: Montage of Heck
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
5,321 movie reviews
  1. Just because a scenario turns dark doesn't mean that it's convincing. House of Sand and Fog is artful until it lunges for Art.
  2. Williams hasn't been this sympathetic in years.
  3. The result is an unabashedly home-cooked homage to New York eccentricity.
  4. What's lost in translation is recovered easily enough in Michael Sheen's astonishing performance as Clough.
  5. Speaking in her native Aussie twang, Byrne shows that she's a deadpan comic ace. And thanks to her chemistry with Rogen, Neighbors proves that just because you grow up doesn't mean you have to be a grown-up.
  6. It hooks you up, happily, to your inner top chef.
  7. Full of splendidly shot wonders.
  8. Narc is as cop movie as a cop movie can be.
  9. Too goofy-surreal to pack a lot of emotional punch, but it's antically light on its feet, with 3-D images that have a lustrous, gizmo-mad sci-fi clarity.
  10. Code 46 has a noirish fatalism that renders it a close cousin to ''Blade Runner,'' but Winterbottom's film, shot mostly in the light, uses the theme of memory erasure to peer into the eternal sunshine of tragically altered minds.
  11. There's something Slavic about Warner's storytelling.
  12. It's eye candy that detonates.
  13. Lucy Walker's observant film Blindsight is about profound East-West differences in the importance of journey versus destination and comradeship versus competition.
  14. Gini Reticker's simply made, affecting documentary Pray the Devil Back to Hell reveals how these heroic ordinary women prodded the factions to peace and literally brought down Taylor, a leader of sociopathic cruelty.
  15. PP2 sometimes feels less like a movie than a two-hour episode of Glee ghostwritten by Amy Schumer; jokes fly like they’re being shot from T-shirt guns at a gonzo pep rally, and not all of them stick the landing.
  16. The movie borders on hagiography, but Gordon is a charmingly voluble storyteller; he’s like Dos Equis’ Most Interesting Man in the World recast as a balding Jewish guy from Long Island.
  17. An effortlessly clever animated confection.
  18. This is familiar psychological as well as stylistic territory for Anderson after "Rushmore" and "The Royal Tenenbaums." But there's a startling new maturity in Darjeeling, a compassion for the larger world that busts the confines of the filmmaker's miniaturist instincts.
  19. The film is anchored by yet another hypnotically complex Cumberbatch performance. He's turning greatness into a habit.
  20. Smart enough to hook us with the best thing it has going: Cedric the Entertainer's gruffly uproarious and lived-in performance as Eddie.
  21. The most spellbinding aspect of Bright Future is that the surrealism sustains its own squiddish logic, concluding with one of the most breathtaking film finales of the year.
  22. Not only makes excellent use of the singer's sweetly coltish acting abilities, but it also promotes a standardized set of sturdy values with none of Mariah Carey's desperate ''Glitter,'' or any of Mandy Moore's gummy pap in ''A Walk to Remember.''
  23. Nebraska isn't a perfect movie. It's often hard to tell whether Payne, an Omaha native, is paying heartfelt tribute to his vast stable of Cornhusker characters or slyly mocking them as simpleminded yokels.
  24. An affecting, old fashioned, antiwar war story.
  25. That his (writer-director Tom McCarthy) strange, often funny film is so well-disciplined and deadpan refreshing is an achievement.
  26. The intense interviews and damning statistics (20 percent of all female personnel have experienced sexual assault) do the work of whipping up outrage.
  27. It's a minimalist "Sideways," not so much mumblecore as talkycore.
  28. First-time writer-director Rodney Evans makes a ballsy leap into historical fantasia, with heartfelt fervor outrunning stray moments of artistic gawkiness.
  29. Arriving amid the traditionally withered harvest of January releases, Orange County is peachy.
  30. Highlights Gaskin's down-home gumption as an advocate for the glory of natural childbirth.

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