Entertainment Weekly's Scores

For 5,997 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 Fat Girl
Lowest review score: 0 Bigger Than the Sky
Score distribution:
5997 movie reviews
  1. Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
  2. As brilliantly funny as Chris Rock is, he's never been able to replicate the high-voltage danger and electricity of his stand-up act on the big screen. But in his latest film, the sharply satirical Top Five, he not only makes a case for why he should be a bona fide movie star, he also proves he's a writer-director to be reckoned with.
  3. Between clips of the concerts Seeger staged as hootenanny hosannas, the film chronicles how the blacklisted star stuck true to his beliefs -- which were more patriotic than those of his accusers.
  4. The great Polish director Andrzej Wajda musters the power of classical filmmaking and personal emotional investment to dramatize a stunning atrocity long covered up.
  5. Yimou’s lovely import is the kind of lump-in-your-throat drama they don’t make much anymore, at least in Hollywood. Watching Coming Home you’ll wonder why that is — and who we can write a letter to to fix it.
  6. Yes, Locke is a bit of a storytelling stunt: For the entirety of the movie, Ivan is the only character on screen. But even with nothing to cut away to and no flashbacks to offer context, the film manages to stay as tight as a vise.
  7. Bridge of Spies is like Capra with a dash of le Carré.
  8. In a bold move that pays off, the movie jettisons dialogue altogether and tells its whole story through barn-animal noises, goofy sound effects, and sight gags so silly they’d make Benny Hill spin in sped-up ecstasy. The effect is contagiously cute.
  9. French mood-and-feeling master filmmaker Claire Denis returns to the Africa of her youth for an intense, mysterious drama exploring revolution and loss.
  10. That his (writer-director Tom McCarthy) strange, often funny film is so well-disciplined and deadpan refreshing is an achievement.
  11. The most haunting thing in Bennett Miller's latest film, Foxcatcher, is Steve Carell. That's right, the same rubber-faced comedian who gave us the dim-witted meteorologist of "Anchorman" and the oblivious corner-office boob of "The Office."
  12. Rohmer treasures the undervalued glories of discourse and the intimacy of conversation over the obviousness of action or sexual display.
  13. The serious accusations are leavened by the moments of brimming, illogical, intimate neighborly dailiness the filmmaker also captures with warmth and infectious high spirits.
  14. The movie darts, dreams, and sometimes seems to dance. The great Plummer, meanwhile, creates an inspiring, fully rounded man in late bloom, and McGregor responds with a performance to match.
  15. Campion's big-sisterly encouragement of Cornish's lovely, openhearted performance -- and Whishaw's well-matched response -- results in a character instantly, intimately recognizable to anyone remembering her own first love.
  16. Marjorie Prime in itself feels not unlike Walter’s hologram — almost real and almost human, but not quite flesh and blood.
  17. British filmmaker Andrew Haigh's background in editing (from Gladiator to Mister Lonely) is evident in the casual beauty of moments that only appear "found," giving Weekend an engrossing documentary feel.
  18. Raw
    Raw is unsettling and repulsive and, believe it or not, occasionally funny. It’s got audacity and style, and it packs an undeniably wicked punch.
  19. You need know nothing about Italian politics to completely enjoy the fantastical, Fellini-fied, tragi-comic, biographical fun-for-all Il Divo.
  20. The amazingly natural first-timer was discovered, in a gift of publicity-ready truth, while having an argument with her boyfriend at a train station.
  21. No
    The movie — the third in a trilogy of powerful political dramas from Larraín, including "Tony Manero" and "Post Mortem" — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.
  22. A love letter to the theater—and a deeply poignant one at that—Lonny Price’s sentimental documentary Best Worst Thing That Ever Could Have Happened… is a bittersweet gem.
  23. In its audacious strangeness, the movie manages to do something history hardly ever gets to: surprise us.
  24. The son is obsessive and petulant, punishing and self-pitying, and by the time he gets to a talk with his hurt old mother, we understand why.
  25. In the very funny cop comedy Hot Fuzz, overachieving London police officer Nicholas Angel (Simon Pegg) commits a very British sin: He's too good.
  26. Yet another outstanding little movie in the exciting Romanian New Wave.
  27. The high-low setting effectively reinforces the emotional geography of both lost souls. Gillian Anderson makes a brief, well-placed appearance as one of the rich.
  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. Shot in inky black and white, Ana Lily Amirpour's fractured Farsi fright flick has a spooky, otherworldly quality. It's like an early Jim Jarmusch indie set in Little Tehran at 4 a.m.
  30. Like David Lynch, Quentin Tarantino, and Paul Thomas Anderson, Solondz revels in ironic pop passion. It's a signature moment when he transforms Air Supply's "All Out of Love" into a geek-love rhapsody.
  31. I wish I could say that Wattstax was an ecstatic soul celebration, but most of the performances, while enjoyable, fall short of memorable.
  32. While we can admire their attractive exteriors, we don't know anything about the interior lives of the three women so vibrantly miserable in their unhappiness.
  33. I suppose you could call The Big Short a comedy. It’s very, very funny. But it’s also a tragedy. Behind every easy drive-by laugh is a sincere holler of outrage.
  34. This beautiful, terrible story is not easily forgotten.
  35. Moana has a lot of the hallmarks of your classic Disney adventure — the goofy animal sidekicks, the feel-good messages — but its heroine is something new, a smart and fiery deviation from your standard European lovestruck princesses.
  36. Despite its epic length, The Wailing never bores as Na slathers his tale with generous supplies of atmosphere and awfulness.
  37. Their love story was inevitably complicated. And so is the documentary Chris & Don: A Love Story -- not simply a love letter to love -- by Guido Santi and Tina Mascara.
  38. More than a million people have been displaced in central China in the cause of generating electrical power to meet the needs of the future; Jia's flowing river of a picture washes over a few of them as they adjust to life's currents in the present.
  39. The Wrestler is like "Rocky" made by the Scorsese of "Mean Streets." It's the rare movie fairy tale that's also a bravura work of art.
  40. All in all, Blood Simple looks better than ever.
  41. The third starring the totally captivating cool cucumber Daniel Craig as Agent 007 - is both an elegy and a mission statement. It's also a great, long-lasting jolt of pleasure.
  42. Stunning, unsettling, beautifully written drama.
  43. ''Documentary'' is too impersonal a word and ''visual poem'' is too mushy a phrase to describe Of Time and the City, a short, beautiful, characteristically sublime memory piece by the great British auteur Terence Davies.
    • 81 Metascore
    • 100 Critic Score
    Director Bruce Beresford's tightly focused adaptation retains all the impact of its Pulitzer Prize-winning stage original. Jessica Tandy and Morgan Freeman give exceptional performances as the aging widow and the sage black chauffeur who enlightens her in the segregated South.
  44. The storytelling is the series' best, with a zingy balance of drama, humor, and Deep Thoughts (in a screenplay by Leigh Brackett and Lawrence Kasdan, directed with confident exuberance by Irvin Kershner). [Special Edition]
  45. The film is maddeningly uneven. Just as it starts to settle into an inspired groove, it uncorks a couple of gags that fall lethally flat, making for half of a great comedy.
  46. The archival footage is so breathtaking, the reminiscences so piquant, that even a stranger to dance can't help but be swept up by this peek into such exquisite, now vanished glamour.
  47. The General, for all its panache, is ultimately an unsatisfying movie. The reason, I think, is that Boorman’s slightly puerile romanticization of Cahill keeps getting in the way of the reality he’s showing us.
  48. Kids may be appropriately terrified, but to this overgrown Potter fan, Voldemort, the Darth Vader of the black arts, was a heck of a lot scarier when you couldn't see him.
  49. It’s stronger as a collection of Ferguson voices and figures, such as rapper Tef Poe, who quiets a crowd in one scene by warning, “You ain’t gonna outshoot [the police].” In moments like those, Whose Streets? is a tragic yet essential portrait of a community under siege.
  50. A fizzy and delirious high-camp message-movie musical that may just turn out to be the happiest movie of the summer.
  51. As a horror picture, Blair Witch may not be much more than a cheeky game, a novelty with the cool, blurry look of an avant-garde artifact. But as a manifestation of multimedia synergy, it's pretty spooky.
  52. Flirting is a little too weighed down with stage business to soar. But episode for episode, it's one of the ha-ha-funniest movies currently around.
  53. One of the wonders of the holiday season.
  54. Goodnight Mommy, a brilliantly sinister horror film in the recent art-house mold of "The Babadook" and "It Follows," has a premise that cracks like the whip of a devil’s tail.
    • 81 Metascore
    • 58 Critic Score
    Penn's film oozes an intellectual's fashionable contempt for the characters.
  55. Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
  56. Anderson's film is something to be experienced, like a psychedelic drug trip where the journey trumps the destination. Unfortunately, his journey just didn't do it for me.
  57. Like Eric Bana's menacingly raw breakout in 2000's "Chopper" or Tom Hardy's in 2008's "Bronson," O'Connell bristles with terrifying hair-trigger unpredictability. Watching him, you feel like you're witnessing the arrival of a new movie star.
  58. Allen has fun in his imaginary French capital, turning his star-studded cast loose to interpret their characters as they wish.
  59. Once again, the shaky handheld camerawork in the battle scenes don’t portray chaos so much as a sense that the cinematographer was being attacked by desert bees
  60. A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
  61. The vivid fictional specifics, and the simple loveliness of the artless performances by nonactor Mongolian nomads, attest to the filmmakers' abundant artistry.
  62. As in their previous comedies, Pegg and Frost play men who refuse to stop acting like boys. But these pint-swilling Peter Pans also know how to work the heart and the brain for belly laughs.
  63. The ending he’s come up with for The Force Awakens feels so perfect it’s hard to imagine it any other way. In an age when we’ve all become binge watchers, we feel as if it’s become our right to immediately roll right into the next episode, the next sequel. And when The Force Awakens ends, it’s bittersweet because you so badly want to head right into the next chapter.
  64. Madly original, cheekily political, altogether exciting District 9.
  65. A film of wonderful looseness and innovation. Set free to film fakes, the director is the real thing.
  66. Fantasy leaks into reality.
  67. The Chinese artist and activist Ai Weiwei has achieved a prominence that makes him, in effect, the Aleksandr Solzhenitsyn of the Twitter age. He's also the least stuffy of dissidents, and Alison Klayman's stirring, important documentary catches his complex humanity.
  68. It's a film noir that grows more potent as its secrets are revealed.
  69. Family nuttiness, football madness, romantic obsession, and certifiable mental illness coexist happily in Silver Linings Playbook - a crazy beaut of a comedy that brims with generosity and manages to circumvent predictability at every turn.
  70. What the film leaves unexplained is how this joyous musical outpouring, which predated the revolution, could fare under a system with a pathological distrust of beauty.
  71. In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.
  72. Powerful, passionate, and potentially revolution-inducing documentary.
  73. The stunning images aren't enough for Herzog, though. He wants us to see how these quirky researchers, in their lust to explore, are acting out a drive as primitive as nature: the need to break away from the world in order to find it.
  74. Scott’s sci-fi adventure is the kind of film you leave the theater itching to tell your friends to see. Like Apollo 13 and Gravity, it turns science and problem solving into an edge-of-your-seat experience.
  75. Wendy and Lucy is like "Lassie Come Home" directed by Antonioni. What's piercing about it, and also disturbing, is that Reichardt views the renunciation of society with something close to righteous purity -- as a lefty romantic dream.
  76. Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
  77. A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • Entertainment Weekly
  78. Superb, Oscar-nominated documentary.
  79. A highly original Death in Venice-scented comedy drama written and directed with flair by British feature novice Richard Kwietniowski.
  80. Food, Inc. is hard to shake, because days after you've seen it, you may find yourself eating something -- a cookie, a piece of poultry, cereal out of the box, a perfectly round waxen tomato -- and you'll realize that you have virtually no idea what it actually is.
  81. Do Hou's films deserve to be seen? Absolutely, if only to end the myth that they're too perfect for this world.
  82. It's a quiet dream of a movie, a vision of loneliness giving way to love, then to loneliness again; it's like "Vertigo" remade in a sedately haunted style of Japanese lyricism.
  83. All staged as a harsh poem of survival, with no great psychological interest, yet the ending carries a surprise feminist tug that’s worth the wait.
  84. The lyrical animation, with its meditative attention to nature, bears the unique stamp of Japan's Studio Ghibli, cofounded by the great ­"Spirited Away" animator Hayao Miyazaki.
  85. A movie masterpiece...is Lars von Trier's ecstatic magnum opus on the themes of depression, cataclysm, and the way the world might end.
  86. A succulently entertaining movie that invites you to splash around in the dreams and follies of folks so rich they're the 1 percent of the 1 percent. It's like a champagne bath laced with arsenic.
  87. The narrative sparseness of Theeb does not also apply to its cinematic virtues, which offer plenty for audiences to chew on, whether they’re looking for a non-traditional western adventure or trying to win their office Oscar pool.
  88. The movie is a bumpy road of twists that leads to a revelation that has the shock and force of Greek tragedy.
  89. In watching the birds and the man with an affectionate, curious eye, the filmmaker builds a story of surprising emotional resonance.
  90. While never slow, the film feels quiet and spacious, like a prayer.
  91. As tricky and satisfying as any of David Mamet's airless cinematic shell games. Mamet's films are all plot and no atmosphere; this one has a squalid, urban-greed-meets-the-gutter mood that lends its filigreed cleverness an unusually resonant kick.
  92. The result is a candid testament to not only Gleason himself but the many people who love him.
  93. Relaunches the series by doing something I wouldn't have thought possible: It turns Bond into a human being again -- a gruffly charming yet volatile chap who may be the swank king stud of the Western world, but who still has room for rage, fear, vulnerability, love.
  94. Anyone expecting a tender sunset elegy, however, has wandered into the wrong film. Saraband, despite a few wistful moments, is a poison pill of a reunion.
  95. Remains the only rock & roll film that exerts the saturnine intensity of a thriller.
  96. The nature of silent comedy was to elevate its heroes into myths, but after ''Charlie'' I can't wait to see Chaplin's movies again, this time to glimpse the man on the other side of the icon.
  97. What could have been a parlor game becomes a surprisingly rich sketchbook, boosted by the work of fine actors.
  98. Set in the 1960s, Robert De Niro's directorial debut is a work of vitality and flair. [22 Oct 1993, p.58]
    • Entertainment Weekly

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