Entertainment Weekly's Scores

For 5,851 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Color of Paradise
Lowest review score: 0 I Woke Up Early the Day I Died
Score distribution:
5851 movie reviews
  1. The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
  2. The stories are shocking, tender, sometimes funny, with a soap-opera abundance of plot. Always, the camera stares, respectfully neutral about ordinary people grappling — inconsistently, as men and women do — with the ordinary mysteries of being human. You’ll stare back, amazed it’s taken more than a decade to spread the word.
  3. 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.
  4. Easily one of the most personal and most powerful films of the year.
  5. The picture was made in 1969 and is only now being released in the U.S., in a beautiful restoration supervised by original cinematographer Pierre Lhomme.
  6. Like any great myth, Pan's Labyrinth encodes its messages through displays of magic. And like any good fairy tale, it is also embroidered with threads of death and loss.
  7. Hoop Dreams is an astonishing emotional experience — it has highs, lows, and everything in between.
  8. It becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
  9. Nothing good happens in 4 Months, 3 Weeks and 2 Days, the riveting, horrifying chronicle of an illegal abortion performed in 1987 when Ceauescu's dictatorial hand still gripped Romania's throat. And yet no lover of greatness in filmmaking will want to look away from one of the very best movies of 2007.
  10. It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
  11. Affleck has never had a role that matches his minimal, anti-charisma style like this one. His tendency to be mumbly and awkward and withholding fits his character perfectly. And Hedges, as a temperamental teenager working through loss in his own authentically teenage way, is a real discovery. Michelle Williams, as Lee’s ex-wife, doesn’t get many scenes, but she cracks your heart open in the ones she has.
  12. Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
  13. They're like gods at play, paragons of pure delight, as they mock and feign their way through a universe of mere mortals. To see the movie again is to realize that they were never entirely of this earth and that they never will be.
  14. The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
  15. If there’s a flaw with the film (and it’s a minor one), it’s Peck’s impulse to cram it with clips from lily-white Doris Day movies and John Wayne Westerns that are a bit too on the nose.
  16. Splendidly crafted as it is, the new Disney is a luscious impasto of visual invention that never quite finds its heart.
  17. Like "Far From Heaven," Carol mines society’s narrow-mindedness and the dangers of living a double life. But what was true more than a half century ago remains true now: The heart wants what it wants, society and propriety be damned.
  18. The first animated feature produced entirely on computer is a magically witty and humane entertainment, a hellzapoppin fairy tale about a roomful of suburban toys who come to life when humans aren't around.
  19. The power of The Social Network is that Zuckerberg is a weasel with a mission that can never be dismissed. The movie suggests that he may have built his ambivalence about human connection into Facebook's very DNA. That's what makes him a jerk-hero for our time.
  20. Nearly four decades ago, Pontecorvo anatomized the very form of modern terrorist warfare: the hidden cells, the cultish leaders, the brutish cycle of attack and counterattack.
  21. Once in a long while, a fresh-from-the-headlines movie - like "All the President's Men" or "United 93" - fuses journalism, procedural high drama, and the oxygenated atmosphere of a thriller into a new version of history written with lightning. Zero Dark Thirty, Kathryn Bigelow's meticulous and electrifying re-creation of the hunt for Osama bin Laden, is that kind of movie.
  22. Farhadi is no mere formalist. His film is a spiritual investigation into the rise of women and the descent of male privilege in Iran, and a look at the toll that has taken. In a movie of flawless acting, it is Moadi - terse, proud, angry, haunted - who shows us that rare thing: a soul in transition.
  23. Before Midnight confounds expectations in powerful and even haunting ways. It's not just darker than the previous two films. It's bigger, deeper, and more searching. It follows the characters through a tale of embattled love that extends far beyond them.
  24. Courtenay is a gruff and gratifyingly knotty presence, but in the end it’s Rampling’s movie. In a quiet, beautifully calibrated performance completely stripped of actressy tricks, she’s a revelation.
    • 94 Metascore
    • 91 Critic Score
    This gonzo satiric thriller is a riveting portrait of early-60's paranoia. [15 Nov 1996, p.82]
    • Entertainment Weekly
  25. A triumph of psychological depth and artistic brilliance offered as the magical adventures of one skinny little girl.
    • 94 Metascore
    • 100 Critic Score
    [Tarantino's] ability to take what seem like minor conversational themes and dovetail them onto later exchanges for maximum comic effect is close to genius. And the action can be literally heart-stopping.
  26. Way ahead of its time 30 years ago, and just as stunning today, Killer of Sheep is one of those marvels of original moviemaking that keeps hope of artistic independence alive.
  27. J.M.W. Turner was a master of light and image, but what stands out most about him in Mike Leigh's captivating biographical film is a sound. Playing the renowned Victorian-era English painter, Timothy Spall grunts and expectorates his way through his scenes, chugging along with the phlegmy belch of an old jalopy or, as the film suggests more than once, a snuffling pig.
  28. The result is an intense, action-driven war pic, a muscular, efficient standout that simultaneously conveys the feeling of combat from within as well as what it looks like on the ground.

Top Trailers