Entertainment Weekly's Scores

For 5,989 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Iraq in Fragments
Lowest review score: 0 Night Watch: Nochnoi Dozor
Score distribution:
5989 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. What’s magical about Kane — the sheer transformative thrill of invention — is there in every shot, every performance, every narrative surge.
  4. 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.
  5. Easily one of the most personal and most powerful films of the year.
  6. 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.
  7. 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.
  8. Hoop Dreams is an astonishing emotional experience — it has highs, lows, and everything in between.
  9. It becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
  10. To see Gone With the Wind on a big screen again is to weep for the fearlessness with which Hollywood once believed the sublime was possible.
  11. 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.
  12. It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
  13. 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.
  14. Using New York’s famed apartment house the Dakota for all its cavernous shadowiness, and exploiting the 23-year-old Farrow’s tremulous space-child vulnerability to underscore her terror and solitude, Polanski worked with an elegant restraint that less talented filmmakers have been trying to mimic ever since.
  15. Ratatouille is a blithe concoction, as well as a miraculously textured piece of animated design.
  16. 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.
  17. 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.
  18. A triumph of psychological depth and artistic brilliance offered as the magical adventures of one skinny little girl.
  19. Splendidly crafted as it is, the new Disney is a luscious impasto of visual invention that never quite finds its heart.
  20. 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.
  21. 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.
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. It whisks you to another world, then makes it every inch our own.
  28. 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.
  29. 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.
  30. This is visceral, big-budget filmmaking that can be called Art. It’s also, hands down, the best motion picture of the year so far.
    • 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
    • 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.
  31. 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.
  32. 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.
  33. 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.
  34. There’s enough slapstick and silliness to keep kids entertained.... But the film also has a bittersweet streak about the loss of innocence and the fleetingness of childhood.
  35. It's an intoxicating feeling when a movie excites and enlivens us like this -- and there's a particular giddiness to be had in thinking about what movies can (but don't often) do for one's soul after imbibing such a fine vintage.
  36. The conclusion of Peter Jackson's masterwork is passionate and literate, detailed and expansive, and it's conceived with a risk-taking flair for old-fashioned movie magic at its most precious.
  37. A rivetingly journalistic account of a scoundrel's rise and fall.
  38. In Amour, these two actors show us what love is, what it really looks like, and what it may, at its most secret moments, demand.
  39. It seems pompous and scattershot now -- a tweaking of privileged European smugness that unfolds with a playful daisy-chain logic but has the tone of a quaint, doddering lecture.
    • 93 Metascore
    • 100 Critic Score
    Funny and scary, Reversal is a tour de force for Schroeder, who examines the idle rich, the intricacies of the legal system, and the imperatives of morality concisely but with unmatched brio.
    • Entertainment Weekly
  40. Soaring and romantic, wild and serene, feminist and gutsy, Crouching Tiger, Hidden Dragon is one of the best movies of the year.
  41. Tautly directed by Tom McCarthy (The Visitor), the film hums as a tense shoe-leather procedural and a heartbreaking morality play that handles personal stories respectfully without losing sight of the bigger, more damning picture.
  42. Spielberg restages the Holocaust with an existential vividness unprecedented in any nondocumentary film: He makes us feel as if we're living right inside the 20th century's darkest-and most defining-episode.
  43. These 173 minutes don't drag, they waltz.
  44. It’s stunningly ambitious and thrillingly alive the way the best movies are.
  45. With Inside Llewyn Davis, they've made a film that is almost spooky in its perversity: a lovingly lived-in, detailed tribute to the folk scene that — hauntingly — has shut their hero out.
  46. For bleakness, the movie can't be beat -- nor for brilliance.
  47. Extraordinary new documentary that turns Robert Crumb's twisted life story into a disturbing, exhilarating work of biographical art.
  48. The most beautiful movie ever made about a man who could only move one eyelid -- almost dangerously beautiful.
  49. In a class by itself.
    • 92 Metascore
    • 100 Critic Score
    Another harsh character study, with poignant echoes of "Taxi Driver."
  50. Visually dazzling and morally devastating.
  51. Vibrantly, intricately alive on its own terms. This is what magic the movies can conjure with an inspired fellowship in charge, and unlimited pots of gold.
  52. As in the Coen brothers' great "A Serious Man," the Book of Job looms large here — which is likely how director Andrey Zvyagintsev secured support from his country's censorship-happy Ministry of Culture.
  53. Toy Story 3 is a salute to the magic of making believe.
  54. Tower allies itself with the heroes on the ground and the immeasurable courage they displayed, risking everything for the sake of strangers. That’s a story worth telling, one worth remembering, and what makes Tower a must-see.
  55. The result: This great work of art has the potential to change the world.
  56. Eric Rohmer’s sun-kissed love quadrangle remains as fresh and romantically profound as it was 18 years ago.
  57. Stunning, fully formed masterpiece.
  58. The simplicity and poignancy of the choices — riding a bus, swinging on a swing — and the great variety of interviewees result in a film of nonsticky freshness, as well as unforced profundity.
  59. E.T. is ultimately a tale of love, and the film becomes a cathartic leap into pure feeling. [2002 re-release]
  60. If ''Finding Nemo'' is an awesome Pixar superpower, The Triplets of Belleville is a charming, idiosyncratic, self-governing duchy with huge tourism potential on the other side of the animated-movie planet.
  61. The antidote to every square tough-guy caper you've ever seen, and the inspiration for many great ones. It is an existential imperative to seek out a showing and burn rubber to get there, preferably in an excellent car.
  62. Helen Mirren's allure lies not in finding what's regal in every woman she plays, but in finding what's womanly in every royal.
  63. By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.
  64. (Denis's) visual style is hypnotic, rapturous, and she makes barren landscapes look gorgeous, hard men look vulnerable.
  65. Waltz With Bashir has transcended the definitions of ''cartoon'' or ''war documentary'' to be classified as its own brilliant invention.
  66. A crowd-pleaser, all right, but, for all its appeal, a naggingly sanctimonious one.
    • 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.
  67. His video essays may have hinted at an artist with a gifted eye, but Columbus is proof that Kogonada also possesses heart and soul as well.
  68. The breath of cinematic life, though, the sensibility, the energy, belong to Joel and Ethan Coen, and this is their stirring success.
  69. The film, by seasoned cinematographer Dror Moreh, is a feat — of access and of passionate and appropriately unsettling political commentary.
  70. Ida
    With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.
  71. Only Yesterday may have been released in 1991 and take place in 1982 and 1966, but Taeko’s reflection on girlhood is truly timeless.
  72. 13th is a titanic statement by a major American voice. Viewing — right now — should be mandatory.
  73. By the time The Crying Game is over, you'll never look at beauty in quite the same way.
  74. One of the unshowiest and most true-blooded epics of Americana you're ever likely to see.
  75. Voluptuously engrossing.
  76. Remains a majestic explosion of pure cinema. It's a hallucinatory poem of fear, projecting, in its scale and spirit, a messianic vision of human warfare stretched to the flashpoint of technological and moral breakdown.
  77. It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.
  78. Her
    Jonze's satiric, brave-new-world premise is undeniably clever, but it's also a bit icy emotionally.
  79. A movie of staggering virtuosity and raw lyric power, a masterpiece of terror, chaos, blood, and courage.
  80. Leaves you shaken and ecstatic at the same time, transported by the vision of a major film artist.
  81. You could trawl the seven seas and not net a funnier, more beautiful, and more original work of art and comedy than Finding Nemo.
  82. This is a great film, and a triumph of creativity and courage over repression.
  83. Topsy-Turvy reminds us that, in any age, creative expression is at once the most personal and most communal of enterprises.
  84. The most excitingly original movie of the year.
  85. The new film, which unfolds in real time over the course of 80 minutes, is a deeper, darker, altogether more memorable experience. It doesn't extend the characters so much as fulfill them.
  86. Dazzlingly beautiful, funny, and meaningful.
  87. There's also no romanticizing on the part of the director, who proceeds with calm, unshowy attentiveness (even in the midst of scenes of violence), creating a stunning portrait of an innately smart survivor for whom prison turns out to be a twisted opportunity for self-definition.
  88. Crowe, staying close to his memories, has gotten it, for perhaps the first time, onto the screen.
  89. 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.
  90. Rachel Boynton’s gripping doc shows you what happens when the greed of oil companies meets the chaos of postcolonial Africa.
  91. The movie might almost be winking at the fact that any single one of these performers could easily be the featured star of his or her own upper-crust period piece.
  92. Pulling the bandage of sentiment cleanly away from oozing concepts like ''heroism'' and ''our nation's war on terror'' in the aftermath of recent wounds, here's a drama about the most politically charged crisis of our time that grants the dignity of autonomy to every soul involved.
  93. When you get past Miller’s orgy of loco action sequences—and they’re so good, you may not need to—the story is pretty thin.
  94. One of the great unheralded films of the late ’60s.
  95. A beautifully sinister and transfixing entertainment-age daydream.

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