Entertainment Weekly's Scores

For 5,385 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 Oswald's Ghost
Lowest review score: 0 The Perfect Man
Score distribution:
5,385 movie reviews
  1. Soul Surfer, while formulaic in design, is an authentic and heartfelt movie.
  2. Gibson, in a disarmingly nimble, fast break performance, makes Nick's new hyperempathy look like the essence of virile panache.
  3. Most of the jokes land bluntly – ”This is a cliché!” – but tight pacing and a killer cast, which also includes Ed Helms and Christopher Meloni, make up for the inconsistent gags.
  4. Huppert is a wonder, inhabiting every iota of rage and froideur and helplessness; if only the movie's motives were as lucid as her performance.
  5. My new theory is that Willis' own aesthetic soul is more old-world than he knows, and that he works best with directors who either are (Luc Besson) or might as well be (M. Night Shyamalan) European.
  6. this unfairly maligned sci-fi comedy testifies that Eddie Murphy still has the gift of surprise.
    • 77 Metascore
    • 75 Critic Score
    But Van Sant, whose vision is otherwise sharp, pushes the connection to Shakespeare's Henry IV too far, having Reeves at one point declaim in rhyming couplets, which severely tests even the most forgiving viewer.
    • Entertainment Weekly
  7. Swartz’s ex-girlfriend adds heart when she tearfully recalls first seeing the ”end date” on his Wikipedia page.
  8. Rarely has a movie captured the obscene violence of sex trafficking with such unvarnished grubbiness. In the end, though, The Whistleblower is a corporate thriller.
    • 88 Metascore
    • 75 Critic Score
    Never quite connects with us emotionally, yet the more it shades off into the gonzo-poetic, the more fun it becomes.
  9. Square, sincere, and proud of it.
  10. In the end -- an ending of such power and narrative originality (in both book and movie) that those who know it ought never breathe a word to those who don't.
  11. A handsome epic, a brave-hearted 19th-century man-saga from the director who made the period piece man-sagas ''Glory'' and ''Legends of the Fall.''
  12. This is a pretty, surface-y documentary rather than the kind of exciting one Vreeland would have demanded, declaring, "You gotta have style!"
  13. The whole thing wobbles, like the garish, trashy, sexy shoes the young folks are wearing this summer on their way (in droves) to movie theaters, intent on abandoning themselves to pleasurable mindlessness.
  14. Barton Fink has an atmosphere of languid comic anxiety (it's like a cross between "Eraserhead" and "Angel Heart"), and it's fun to watch, if only because you have no idea what's coming next.
  15. Damián Szifron’s Wild Tales almost feels too audacious, too crazy, and, in some ways, too slight for the Oscars.
  16. Scenes between YSL and rock-steady lover Pierre Bergé (Guillaume Gallienne) spark, but the film stays too reverent to truly turn heads.
  17. If you loved Amy Sedaris before in a golfer-lady wig and inbred chump's grin, you'll maybe love her again here, while wishing she had another TV-episode-size venue for her talents
  18. The History Boys is as much about the meaning and value of reading and learning as it is about the ho-humness of genital fondling by sir with love.
  19. It's worth seeing this stark adaptation of Thomas Hardy's Jude the Obscure just for the extraordinary performance of Christopher Eccleston as Jude Fawley, the stonemason in turn-of-the-century England whose dreams of university scholarship are thwarted. And British telly director Michael Winterbottom sustains a fine atmosphere of dank misery.
  20. Plot leaps that are fun on paper look generic on screen; here's another lawyer movie in which the characters are only as interesting as the actors playing them.
  21. Badly lit and at times, awkwardly inspirational, yet there's real feeling in it, especially when the movie suggests that Tourette's syndrome is every bit as pure an expression of the spirit as it is a ''disorder.''
  22. The surprise of The Ringer is that the movie is pretty damn funny.
  23. Cool, assured, emotionally remote, Merchant Ivory's Surviving Picasso is never less than watchable, but it's also a cinematic paradox, a movie that works to capture Picasso from every angle yet somehow misses the fire in his belly.
  24. Audience empathy for the displaced Redlichs, coupled with the filmmaker's proffered charms of wise natives and their mysterious rituals, goes a long way toward making this lyrical travelogue a crowd pleaser.
  25. Moore makes Halley's awakening organic and touching. In an age when most teenagers are up to their eyeballs in postmodern consumer glitz, her movies seem radical not just in their retro squareness but in their unfashionable embrace of faith over ironic flippancy.
  26. There's a grace to it all, and moments of oddball poetry.
  27. Writer-director Georgia Lee never leaves any doubt that the bonds of ethnic family devotion are a charm against any woe more serious than an engagement to the wrong white guy.
  28. This is feel-good filmmaking, to be sure, but the culture clash here is more than a meaningless vehicle for fizzy wish fulfillment. The not-unpleasant result is hearty Italian fare with the half-life of Chinese takeout.

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