Entertainment Weekly's Scores

For 5,511 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 Thirteen
Lowest review score: 0 Mr. Magorium's Wonder Emporium
Score distribution:
5511 movie reviews
  1. If I respect Downfall more than I was enthralled by it, that's because its portayal stops short of revelation. Once you witness Hitler's denial, the film has little more to say about him.
  2. Johnson ties some of the film's looser ends together and makes you overlook the ones that stay untied. Between "Eastbound & Down," "Django Unchained", and now Cold in July, Johnson has a nice little streak going of turning seemingly disposable characters into indelible scene-stealing rascals.
  3. Robbins the agitprop celebrity may be blowin' in the wind, but Robbins, the son of a folksinger, knows how to get audiences clapping along.
  4. There's much that's simplistically grand, worthy, and fine in Perdition. If I yearn for less measured filmmaking that cries out with more reckless despair, it's because I think hell on earth is a meaner, much more interesting, and far less tidy cinematic place than Mendes trusts his audience to handle.
  5. There's nothing corny, however, about the climactic shoot-out, which Costner has staged superbly as an extended logistical mini-war that surges and rifle-cracks with bloody abandon through what feels like every building in town. Call it dances with guns.
  6. The leisure-time viewer will say, ''Hey, this is sort of like "Casablanca," so why play it again?''
  7. If Big Star: Nothing Can Hurt Me leads even one person to listen to Big Star for the first time, this movie will have done a great service.
  8. Chaos reigns for much of The Dark Knight Rises, often in big, beautiful, IMAX-size scenes that only Nolan could have conceived. Yet when the apocalyptic dust literally settles on this concluding chapter, the character who lingers longest in memory is an average Gotham City cop named John Blake, wonderfully played with human-scale clarity by Joseph Gordon-Levitt.
  9. A blatant re-spin of ''The Fast and the Furious'' that also happens to be a far better movie.
  10. The movie flies by pleasantly, and is then instantly forgettable. Perhaps Jules Verne can explain the science of that.
  11. Joe
    Both Cage and Sheridan (who shined opposite Matthew McConaughey in Mud) give true and at times tender performances. It's a shame the film lacks the same subtlety and force.
  12. Offers up dazzling ocean creatures in calmly shifting scenes that could double as the world's most expensive screensaver.
  13. It's always a thrill to see what an artist as singular as Jarmusch will do next. I just wish that his foray into the world of the undead had a little more to sink its beautiful fangs into.
  14. Impressively unflappable and natural, 23-year-old Lohman -- whose best known credit is perhaps a role on Fox's short-lived ''Pasadena'' -- holds the whole plot together skillfully.
  15. Depardieu and Marie Bunel (as Bellamy's wife) have a terrific interplay, but Chabrol's sharp direction can't quite rescue his fuzzy script.
  16. Colin Firth smolders as the PTSD-riddled veteran (played in flashbacks by War Horse‘s Jeremy Irvine), and Nicole Kidman cries dutifully as his wife — but they’re both derailed by the movie’s tidy emotional resolutions.
  17. Every movie about cuddly dwarf statues in an English garden should have music this big.
  18. She's no Mary Poppins: Maggie Smith is more like a cheery Angel of Death in the light black comedy Keeping Mum, one of those dutifully daft British diddles (complete with Rowan Atkinson as a vicar) that, except for the blunt sex talk, might have been constructed decades ago.
  19. There are limits to how much comic irony can be wrung out of the sight of two grown men acting like complete cretins.
  20. An eminently watchable B-movie nightmare.
  21. Bryan Bertino, stages The Strangers' early scenes with spooky panache...But then comes the blood, the shrieking midnight chase scenes, the anything-goes over-the-top-ness. In other words, everything that we liked the movie for not being.
  22. Features a supernatural twist that is merely okay, but the film's mood of fractured anxiety and longing made me eager to see what the director, Christoffer Boe, does next.
  23. Frost is a likable bloke with a deft physical grace to match his rat-a-tat one-liners. But all the sequins and silk shirts in the world can’t disguise the film’s too-familiar formula.
  24. It's an okay brat movie.
  25. This is high-quality work from a professional (Gibson) who, news reports have suggested, has recently sunk to terrible lows in his nonprofessional life.
  26. Make no mistake, there will be a sequel. Clary may not wind up having the same pop-culture impact as Bella and Katniss, but like it or not, this won't be the last time you hear from her.
  27. If Lottery Ticket had as much conviction as laughs, it could have hit the jackpot.
  28. DiCaprio, having a blast, makes Candie the equivalent of Waltz's Nazi in "Inglourious Basterds": a racist villain who mesmerizes us by elevating his ideology into a puckishly thought-out vision of the world. Yet Django isn't nearly the film that Inglourious was.
  29. It's an irony too significant to ignore that the movie, which proselytizes against penning up whales in order to make them do cute tricks for humans, spends much of its time making Willy do cute tricks for humans.
  30. Where the movie falters is in sustaining the tricky balance between pastoral life lessons and creepy suspense.

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