Entertainment Weekly's Scores

For 5,426 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 2001: A Space Odyssey
Lowest review score: 0 The Host
Score distribution:
5,426 movie reviews
  1. An artlessly powerful performance by newcomer Nicole Behaire anchors American Violet.
  2. Shows a beguiling aptitude for self-mockery in the pursuit of polemic.
  3. The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
  4. Children bumps into a few dead spots along its irreverent way... But casual sophistication and wiggy Australian self-awareness give this product of unreconstructed bourgeois decadence its idiosyncratic charm.
  5. Dumont's rigorous, serious attention to the mysteries of good, evil, and faith rewards those willing to be confounded.
  6. The story itself is so powerful and troubling, the moral geometry so vertiginous, and the photography so big that anything other than the natural sounds of snowfall and footfall is a Flat Earth Society intrusion.
  7. The denouement of the movie is as preposterously happy as a children's fairy tale. But the moral is ageless.
  8. This gallantly imperfect indie pops with attitude.
  9. In an age when horror movies have mostly become lazy and toothless, here's one with ambition and bite.
  10. Unravels the deceptions -- and the deep dishonor -- that inflated life-size valor into fake superheroism.
  11. The film's style is so ''objective'' it's a bit subdued, yet this is a sports drama of total originality, as well as the most authentic inside view of the immigrant experience the movies have given us in quite a while.
  12. The intimate movie hums with a back-in-the-hood vibe that gets the two stars playing contentedly, and delightfully, for the love of local filmmaking.
  13. James Westby's loving and self-aware homage to mouth-breathing boys who worship Wong Kar-Wai and can't talk to girls is the opposite of Tarantino-esque: It's Westby-ish, interspersing settings of biting social oafishness with spasms of film knowledge.
  14. A gratifyingly clever, booby-trapped thriller that has enough fun and imagination and dash to more than justify its existence.
  15. People Say I'm Crazy doesn't defuse, or romanticize, the trauma of mental illness. It just humanizes it.
  16. Lila, played by Vahina Giocante, who resembles a sexed-up young Emma Thompson, is a teasing, 16-year-old blond baby doll with a gleam of perception beyond her years.
  17. Has too many contrivances, but as an act of sinister staging, it proves Lucas, the noted playwright, to be a born filmmaker.
  18. Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
  19. Every moment spent in the company of Keaton... is such a joy that the whole is more delightful than the sum of the formulaic ingredients. Keaton makes Nicholson bounce the way Shirley MacLaine once did in ''Terms of Endearment.''
  20. Gerwig, who previously starred in Baumbach's "Greenberg," is charmingly awkward. And Sumner (Sting's daughter) is an ace with deadpan one-liners.
  21. Let loose in a plot that's surprisingly modern about sex and relationships, Morton gives Eva's torn longings an immediacy that transcends a lot of damp, 1950s rusticated preciousness.
  22. For one of those obstreperously original books that are themselves impossible to translate, Everything Is Illuminated is impressively well lit.
  23. To explain a serial killer is to diminish his madness, but Dahmer does something quietly riveting. It lets you brush up against the humanity of a psycho, without making him any less psycho.
  24. Part supernatural thriller, part Oliver Sacks-style meditation on the neurological mysteries of perception, and part Buddhist treatise on reincarnation, the story luxuriates in shadows.
  25. The film is consistently fun, and Tucker's comeuppance ? will leave you gasping (if not gagging) with laughter.
    • 84 Metascore
    • 83 Reviewed by
      Ty Burr
    Ang Lee's film of the Jane Austen novel slavishly follows the gospel according to Merchant Ivory, swooning over characters declaiming modestly while surrounded by topiary.
  26. The discreet stink of the bourgeoisie perfumes the wonderfully mordant, dry-eyed family saga, The Flower of Evil.
  27. As the jabbering psychotic Jeffrey Goines, Brad Pitt has a rabid, get-a-load-of-me deviousness that works for the film's central mystery: We can't tell where the fanatic leaves off and the put-on artist begins.
  28. Deepens the saga of New York's former governor and attorney general into the paradoxical morality play it really was. Spitzer, almost three years after he was caught soliciting escorts, comes off as chastened but still regal, like a hawkeyed Jewish Kennedy.
  29. Like the guys who gyrate on La Bare’s stage every night, the movie is luggish, good-hearted, and a little bit sad.

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