Entertainment Weekly's Scores

For 5,518 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 All Is Lost
Lowest review score: 0 Garage Days
Score distribution:
5518 movie reviews
  1. The result, an eye-popping strobe of flesh and blood, is as visually stunning as it is absurdly offensive, sure to thrill some while leaving others in a state of outrage-induced catatonia.
  2. The classy production, with its aesthetic graces, is especially convincing about the charisma of the man, a performance specialty of the great Bardem.
  3. If you want a whiff of how unironic the 1970s were, consider bowling, a sport that on any given weekend was broadcast (usually on ABC) with the hushed solemnity of a moon launch.
  4. Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
    • 69 Metascore
    • 75 Critic Score
    Illuminating nostalgia, stuffed with all the right tattooed talking heads (like Black Flag's Henry Rollins), plus grim-looking concert footage of wailing skinny guys.
  5. But the great revelation in this version is the terrific, beautifully controlled work of Alexander -- Seinfeld's most gifted actor, whose recent movie roles have not allowed him to show his range.
    • 44 Metascore
    • 75 Critic Score
    Featherweight tale of Guinness-guzzling bachelors.
  6. Even though there’s not a lot to Jim Strouse’s new relationship comedy, it has a real warmth and charm thanks to the undeniable appeal of comedian Jemaine Clement.
  7. A canny, derivative, wildly gruesome portrait of a London sociopath who's the scariest of sadists, in part because he's also a very courtly one.
  8. Glosses over the kids' lives off the court.
  9. It's obligatory for a horror film to feature exploitative sex as an appetizer, but Roth, even as he fulfills the sleaze imperative, does something shrewder: He mocks his heroes, presenting them as cold-eyed horndog jerks who fail to see that they've wandered into an entire country of exploitation.
    • 66 Metascore
    • 75 Reviewed by
      Ty Burr
    Sean Penn and Robert Duvall basically played the Two Faces of Dennis: hyper young firebrand and cautious older lion.
    • Entertainment Weekly
  10. Noble in intention but crude in execution.
  11. The Reckoning, with a script by Mark Mills, demands close attention; it's a play of words and ideas crowding for consideration.
  12. The point is, wherever he is, this James Bond is pissed. And that ceaseless anger begins to curdle every sequence that might otherwise bring a little happiness. I mean happiness for us, the viewers.
  13. Carpenter's brutally efficient exercise in tension and release.
  14. Has a sensuous, intimate filmmaking style that overrides The Wedding Song's more precariously loaded plot parallels.
  15. Shortz's gentle manner and French-foreign-agent mustache go a long way toward making him a thinking girl's pinup nerd - and this despite the man's pitiless insistence on making the Saturday New York Times crossword puzzle ''tough as a _ _ _ _ _ _ _ _ _ _ _ _.''
  16. An agreeable mischievous romp.
  17. This is an action-comedy sequel so indefatigably preposterous and farklemt -- as they say in certain Upper West Side saloons -- that it actually improves on the original.
  18. Jonathan Nossiter's second feature (after the intricate and haunting ''Sunday'') strikes unnerving chords of mystery and dismay as it fuses the sinister, jump cut dislocations of a metaphysical thriller like ''Don't Look Now'' with a pain soaked meditation on love, guilt, marriage, and adultery.
  19. It ends up getting a surprising number of things right.
  20. Hardy, speaking in low, flat, almost musically macho tones, has the bruiser charisma of a caveman Kevin Costner. It's not the money he's clinging to - it's the freedom.
  21. There’s really no not-terrible term for smart, silly female-bonding movies that are somehow considered subversive just for acing the Bechdel Test.... Sisters earns a spot in that pantheon, however it’s defined—even if it’s never quite as good as its leads.
  22. An inviting international audience-pleaser.
  23. A gentle, traditional (like, from the last century) romantic comedy.
  24. Diverges to become something quite powerfully unnerving and guilt-ridden.
  25. It's an academic meditation in underworld-thriller drag -- a movie that looks about as close to a straight-ahead, down-and-dirty genre entertainment as anything the director has made since his exploding-head horror days.
  26. Eckhart shows a new kind of foreboding anger. He's powerful as a man who will do anything to crack the ice.
  27. This very earnestly American prison gives off an unusually mellow European air.

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