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 Standing in the Shadows of Motown
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5,467 movie reviews
  1. 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.
  2. It ends up getting a surprising number of things right.
  3. 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.
  4. An inviting international audience-pleaser.
  5. A gentle, traditional (like, from the last century) romantic comedy.
  6. Diverges to become something quite powerfully unnerving and guilt-ridden.
  7. 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.
  8. Eckhart shows a new kind of foreboding anger. He's powerful as a man who will do anything to crack the ice.
  9. This very earnestly American prison gives off an unusually mellow European air.
  10. This latest market-savvy bit of circuit preaching is less cartoonish than Perry's previous big-tent revival meetings.
  11. A bright, whirling pinwheel of a movie that tosses around special effects like confetti, but the techno magic is graced with a touch of sensuality.
  12. The film is a sobering chronicle of the depressing circus of persecution and pseudo-scandal that was the Clinton years. But why did the President provoke such ire? A movie with insight into that might actually feel new.
  13. Taken for what it is, Insurgent is a vast improvement over the franchise’s first installment, mostly thanks to expansion in two arenas: budget and scope.
  14. Another contemporary story about a woman with a successful career punished with a lousy personal life.
  15. A tacit auteur-to-auteur endorsement of the inalienable right to make movies--regardless of talent or sobriety or adult responsibilities--is what gives American Movie its uneasy kick.
  16. As the movie goes on, these fleshy little beings turn into…well, people. And that's something to see. But Babies, without falsifying its subject, could have used a more soul-stirring sense of showbiz -- that is, a riper display of infantile special effects.
  17. Beneath its exploration of fatherly distance, this is really a portrait of why cranks make better artists than earnest nice guys.
  18. For all Golino's comeliness, she's upstaged by the windy beauty of the landscape, and by Crialese's attention -- in an Italian neorealist way -- to the routines of daily life in an insular, traditional culture.
  19. Beauty competes with vacuity in Elephant, and for a good stretch of writer-director Gus Van Sant's maddeningly passive ode to high school innocence and Columbine-age youthful evil, beauty wins.
  20. Duplicity doesn't have depth -- but it does have Julia Roberts, in full Hollywood movie-star mode.
  21. A clever rock-world satire, with some lively take-offs on the TMZ-gossip magazine circus, but it's also too long, and by the time of the inevitable Las Vegas sequence, it starts to grow repetitive.
  22. Yet if Bachelorette takes the form of a romantic ensemble comedy, it's purged of any true romantic feeling. You'll laugh, maybe a lot, but you won't feel great about it in the morning.
  23. A deft Stephen King freak-out.
  24. What Planes lacks in novelty, it makes up for with eye-popping aerial sequences and a high-flying comic spirit.
  25. Penn is a true talent, but there's just enough languid pretension to The Pledge to make you wonder if he's ultimately more interested in parading his promise as a director than in fulfilling it.
  26. It makes sense that L'Enfant has been hailed as a masterpiece, since a masterpiece is what it's trying, in every unvarnished frame, to be. If you wandered unknowingly into the film, however, you would see this: a stark, fascinating, and naggingly detached character study.
  27. For a Good Time, Call... tells the tender tale of two roommates who team up to launch a phone-sex line. Whatever their virtues or flaws, each of these movies makes the dirtiest episode of "Sex and the City" look like Doris Day fluff.
  28. In making a movie about the hot mess of Afghan history, a sense of reserve turns out to be a useful tool for peace.
    • 91 Metascore
    • 75 Critic Score
    George C. Scott's Oscar-winning portrait of the megalomaniacal warrior general is still the glue holding together this blunt study of war as the ultimate human (and dehumanizing) game.
  29. The performances are mediocre. The heart is big. The weather is swell.

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