Entertainment Weekly's Scores

For 5,888 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 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Mission: Impossible - Ghost Protocol
Lowest review score: 0 The Hottest State
Score distribution:
5888 movie reviews
    • 86 Metascore
    • 100 Critic Score
    A masterpiece.
  1. This truly intimate film invites viewers to commune as well and feel a profound living connection with fellow humans of 30,000 years ago.
  2. This story of a 12-year-old boy who drops through the net of middle-class life invites us-in each shimmering frame-to gaze upon the world with a child's freshly awakening vision.
  3. The result is something as original as it is unlikely: a study in grief that is flooded with happiness.
  4. The uncoagulated anguish of parents mourning the death of a child has rarely been more powerfully depicted than in the collected vignettes of grief, rage, and retribution that make up the riveting domestic drama In the Bedroom.
  5. Ten
    A glimpse into a society that has grown more open, more free, and also more casually selfish in its interpersonal aggression.
    • 86 Metascore
    • 100 Reviewed by
      Ty Burr
    But it's Polanski who pries the genre open until it goes metaphysical.
  6. It is their shared strength as a band of brothers humble before their Christian God - and indeed before the God of Islam - that may stir viewers to an awe that transcends skeptical opinions about religion or politics.
  7. In The Beaches of Agnès, you get addicted to watching Agnès Varda watch the world.
  8. Sweaty and claustrophobic, exciting and horrifying at the same time, it never lets us forget we're riding aboard a giant, primitive tin can, a hunk of industrial machinery that mingles the illusion of omnipotence with the reality of a floating prison cell. [Director's Cut]
  9. Brilliant and psychologically transfixing documentary.
  10. Argo is never less than wildly entertaining, but a major part of its power is that it so ominously captures the kickoff to the world we're in now.
  11. The movie is pulp, yet it attains a surprising emotional power-especially when Anjelica Huston's Lilly, a survivor who'll do whatever it takes to master her surroundings, is on-screen.
  12. Ozon specializes in dissecting the vulnerability, erotic longing, and garbled intentions with which people regularly rub up against one another.
  13. The rare Hollywood epic that dares to entertain an audience by engaging the world.
  14. Like everything else in this superb work of art, ''Shrinking Lover'' is exquisitely Almodóvarian. It's funny, tender, a little shocking, and it pays homage to what we know about movies: that they can move us beyond words.
  15. Still the grandest of all science-fiction movies.
    • Entertainment Weekly
  16. What the activist drama "Fast Food Nation" does with talk and the aid of movie stars, Our Daily Bread, a riveting documentary by Austrian filmmaker Nikolaus Geyrhalter, does even better, with no voice-over and barely a word spoken by the unidentified workers involved in matter-of-fact killing and harvesting.
  17. It's also one of the great movies of the year - an ambitious, challenging, and creatively hot-blooded but cool toned project that picks seriously at knotty ideas about American personality, success, rootlessness, master-disciple dynamics, and father-son mutually assured destruction.
  18. Lavish with stunning imagery, the experience will ripple into your dreams.
  19. Gliding from the physical to the metaphysical, Andersen reveals how films like ''Chinatown'' effectively remade the reality of Los Angeles, replacing history with myth in a way that now anchors the city more than that history itself does.
  20. Sad, menacing, empathetic story.
  21. There's a painterly translucence to this ''Springtime,'' and a mystery, too; each frame is as delicately poised and lit as a Vermeer portrait of a woman, beckoning but unknowable.
  22. In the grim and empathetic lost-youth drama Sweet Sixteen, the director focuses on a few failed souls -- rather than excoriate the system that failed them -- to produce a story of particularly streamlined, eloquent despair.
  23. The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.
  24. Don't tell Walt Disney, but Hayao Miyazaki really holds the keys to the magic kingdom.
  25. You know you're in the hands of a true filmmaker when you feel invited, at every turn, to share his sense of entrancement. I got that feeling in just about every frame of American Beauty.
  26. This is essential viewing for understanding our world.
  27. "Andy Warhol" makes you see that beneath the gargoyle hipster mask, he filled that emptiness with an art of transcendent sincerity.
  28. The movie is small, local, and idiosyncratic. Then again, it's also a thing of beauty and originality - and for that, sustained huzzahs are in order.
  29. Juliette Binoche is outstanding as a wildly untogether single mother who parks her son with a French-speaking Chinese nanny while she whirls and worries.
    • 85 Metascore
    • 100 Critic Score
    It all comes down to one scene: John Cusack, standing at dusk, boom box aloft, blaring Peter Gabriel's ''In Your Eyes'' outside Ione Skye's window. This, friends, is what rapturous, heartrending, soul-spinning love is all about.
  30. Arenas' life zigzags before us in a manner as heady and unpredictable as it must have felt to the man who lived it.
  31. A spectacular windup toy of a thriller -- a contraption made by an artist.
  32. By the film’s shattering end, you’ll feel the spirit of Arthur Miller, one of the great dramatists of the 20th century, reaching across the transom to touch one of the great dramatists of the 21st.
  33. Beautiful, compassionate, articulate domestic drama.
  34. The result is a movie, and Cannes Palme d'Or winner, of riveting power and sadness, a great match of film and filmmaker -- and star, too.
  35. Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
  36. Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
  37. The Savages is terrific -- a movie of uncommon appreciation for the nature and nurture that go into making us who we are, a perfectly calibrated drama both compassionate and unsentimental.
  38. It took writer-director Samuel ''Shmulik'' Maoz nearly 30 years to make this disturbing, visceral, personal film.
  39. Tangerine is touching for its non-condescending stance toward working girls and the spirit of the sidewalk.
  40. An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
  41. Although In the Mood for Love isn't in the mood for action, it dazzles with everything but.
  42. Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
  43. Jafar Panahi's wonderfully funny, outspoken shaggy-dog story, a light counterweight to his sadder 2000 feminist drama "The Circle."
  44. The very opposite of a storybook romance, and also the very model of a great comedy for our values-driven time.
    • 85 Metascore
    • 42 Critic Score
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  45. The very title The Departed suggests a James Joycean take on Irish-Catholic sentiment when, of course, this story is anything but: It's Scorsesean, and he's in full bloom.
  46. The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
  47. Afterward, you'll want to listen to the Beatles sing ''She's Leaving Home.'' It might be a girl like Jenny the lads had in mind.
  48. A puzzle of a highly rarefied order. At times it's enthrallingly clever and subtle; at others it's borderline incomprehensible.
  49. Half Nelson offers an opportunity to marvel, once again, at the dazzling talent of Ryan Gosling for playing young men as believable as they are psychologically trip-wired.
  50. Mezzogiorno (Love in the Time of Cholera) plays Dalser with the kind of fervent intensity once seen in silent films.
  51. Dizzily rich, witty, and satisfying.
  52. Wiseman reveals the victims of domestic abuse in all of their pity and terror.
  53. Riveting family portrait.
  54. The power of this great movie -- part comedy, part tragedy, part satire, mostly masterpiece -- is in the details.
  55. I wish 'Hero's emotional heat rose more intensely -- more recklessly. There's something grand but distant and almost fetishistic about the operatic solemnity with which Zhang approaches the Rashomonic story of assassins attempting to kill a king.
  56. Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
  57. Mitchell directs and stars in the riotous, loving, and only occasionally pathos-milking film adaptation of his own acclaimed Off Broadway play, with great up-your-ante music and lyrics by Stephen Trask.
  58. Writer-director Jeff Nichols builds his elegantly shot, weather-sensitive horror story in waves of tension that crest as if pulled by tempests.
  59. The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
  60. An insider nostalgia trip for graying art punks. It could have been called ''When We Were Cool,'' and it's finally so cool that it freezes you out.
  61. At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
  62. 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.
  63. Malick clings to the promise of grace: His vision of the afterlife is a dreamy beach, enhanced by an excellent playlist of fine classical music, and promising the peace that surpasses all understanding. Plus a beautiful sky.
  64. Bong Joon-ho's wildly entertaining saga should become the hip, thinking-person's monster movie of choice.
  65. Lopez, for all her Latina-siren voluptuousness, has always projected a contained coolness, and this is the first movie in which it fully works for her.
  66. It's doubtful you'll ever see a combat documentary that channels the chaos of war as thoroughly as this one.
  67. Temperamentally in sync with her "Wendy and Lucy" director, Michelle Williams plays one of the toiling wives. And the actress, with her calm center, compresses the entire history of frontier wifeliness into the concentration with which she gathers firewood and loads a musket.
  68. Fruitvale Station is great political filmmaking because it's great filmmaking, period.
  69. Tough to watch, but essential.
  70. Circles the heart of noisy, modern Tehran with an informal, documentary-like freedom that is thrilling in its naturalism.
  71. A work of intimate and wrenching humanity.
  72. Superb family drama.
  73. An exhilarating puzzle, one of the grand cinematic eruptions of the year.
  74. It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
  75. The movie is enchanting.
  76. 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.
  77. A doozy of a French gangster pic that, in its beautifully refurbished and pithily resubtitled re-release, turns out to be one of the highlights of the 2005 movie year.
  78. It's a work of art that deserves a space cleared for its angry, nervous beauty.
  79. As long as Revanche focuses on the relationship between Tamara (Irina Potapenko), an indentured Ukrainian prostitute, and Alex (Johannes Krisch), the ex-con gofer and would-be tough guy who wants to help her escape, it's riveting.
  80. A tacit auteur-to-auteur endorsement of the inalienable right to make movies--regardless of talent or sobriety or adult responsibilities--is what gives American Movie its uneasy kick.
  81. The message, if there must be one, of this marvelous, stubbornly personal movie is that there is a spark in every soul.
  82. For some viewers, Moonrise Kingdom may be movie heaven, another bric-a-brac-jammed bauble to place alongside "The Life Aquatic With Steve Zissou" and "The Darjeeling Limited." Personally, though, I wish that Anderson would come out from under the glass, or at least change what he's doing under there.
  83. Filmmaker Yung Chang finds a sad and beautiful way to glimpse the big picture of dislocation through an exquisitely poised small study.
  84. So suspenseful, sexy, and surprising that it would be a shame to say any more.
  85. Moreau is bewitching -- she simply breathes her role, without a hint of vanity.
  86. 49 Up is a precious document, and must viewing.
  87. A fascinating film -- more docudrama than biopic.
  88. The lightness with which Buñuel was able to insert the little jokes and knife stabs of surrealism he loved so much is, in fact, divine.
  89. It's a merciless and mirthlessly funny antiwar weapon from a filmmaker who has seen battle firsthand and has lived to make art from memories of hell.
  90. The unlikeliest enthralling movie to be released so far this year.
  91. Bold and brilliant.
  92. Ceylan, who also served as cinematographer, frames the affecting, unstudied performances in gorgeously chosen shots and nonevents that sometimes teeter on the edge of comedy before knocking us breathless with their emotional power.
  93. Farhadi’s intrigue doesn’t feel like the stuff of a Hollywood thriller. It’s more realistic, more pedestrian than that – which gives it a real ring of low-key emotional truth.
  94. Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
  95. Both the definition of ''my'' and the definition of ''Winnipeg'' become profoundly fluid in this exquisite ''docu-fantasia'' (Maddin's term), an entrancing riffle through the olde curiosity shoppe of the filmmaker's psyche.
  96. Eastwood directs Mystic River with an invigorated grace and gravitas. This is a true American beauty of a movie, a tale of men and their bonds told by and for adults who value the old-fashioned Hollywood-studio notion of narrative.

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