Entertainment Weekly's Scores

For 5,319 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 Far From Heaven
Lowest review score: 0 Crime and Punishment in Suburbia
Score distribution:
5,319 movie reviews
  1. Snowpiercer sucks you into its strange, brave new world so completely, it leaves you with the all-too-rare sensation that you've just witnessed something you've never seen before...and need to see again.
  2. Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
  3. A remarkable doc about a life well lived.
  4. She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
    • 78 Metascore
    • 100 Reviewed by
      Ty Burr
    You may not like the terms Tarantino sets, but you have to admit he succeeds on them.
  5. This warm, funny, sexy, smart movie erases the boundaries between specialized ''gay content'' and universal ''family content'' with such sneaky authority.
  6. Into Darkness is a sleek, thrilling epic that's also a triumphantly witty popcorn morality play. It's everything you could want in a Star Trek movie.
  7. A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
  8. With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
  9. A voyeur's delight.
  10. Raimi has made the most crazy, fun, and terrifying horror movie in years.
  11. Tiny Furniture is proof, against steep odds, that there are no small stories, only small storytellers.
  12. Awesome documentary.
  13. Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
  14. American Splendor presents Pekar as drawn on the page, Pekar as brilliantly interpreted by Paul Giamatti, and the actual Pekar, in the double role of narrator and interview subject -- sometimes all at once. The magic act is thrilling, and truly surprising.
  15. Nimble, engrossing, and journalistically eye-opening, a movie that pulls into focus 30 years of porn in America. It also pulls no punches.
  16. Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
  17. A deliciously amusing socio-culinary prank.
  18. Like Michael Apted in his "Seven Up!" documentary series, Linklater makes you feel as if you're watching a photograph as it develops in the darkroom.
  19. The serious accusations are leavened by the moments of brimming, illogical, intimate neighborly dailiness the filmmaker also captures with warmth and infectious high spirits.
  20. If they handed out an Academy Award for Most Gripping Graphs and Charts, this film would take it.
  21. The most excitingly original movie of the year.
  22. For sheer dramatic wallop outpowers virtually every fiction feature I've seen this year.
  23. It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
  24. In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
  25. It's the first Hollywood Iraq movie to remind me of a Vietnam film like Coming Home, and it does more than disturb. It scalds, moves, and heals.
  26. This thrilling stop-motion animated adventure is a high point in Selick's career of creating handcrafted wonderlands of beauty blended with deep, disconcerting creepiness.
  27. This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
  28. A no-frills docu-Dogma plainness, yet Miller lingers on invisible, nearly psychic nuances, leaping into digressions of memory and desire. She boxes these women's souls right open for us.
  29. A movie as layered and enthralling as its subject.

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