Entertainment Weekly's Scores

For 6,169 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Waltz with Bashir
Lowest review score: 0 A Sound of Thunder
Score distribution:
6169 movie reviews
  1. Fehling gives a commanding physical performance as he transitions from ambition to despair to, finally, resolve.
  2. There's a slightness to Postcards From the Edge, and a little too much satirical self-help jargon (the story is all about how Suzanne learns to like herself). But the movie captures — and celebrates — how easy it is to turn your problems into show biz.
  3. Like "Almost Famous," Ponsoldt’s film gets at something deep and true about the journalist/subject dynamic and the phony intimacy and tiny betrayals implicit in it. It’s a profoundly moving story about a towering talent who seemed to feel too much and judge himself too harshly to stick around for long. What a shame.
  4. That Thing You Do! is neither overly sentimental nor overly cynical. It looks at the invention of our pop-rock mythology, and the bands that fed it until they were consumed by it, just as you'd expect Tom Hanks to: with open eyes (and a raised eyebrow).
  5. Lauren Ambrose is lovely as the girlfriend he's a fool to lose but seems intent on losing anyhow.
  6. Mezzogiorno (Love in the Time of Cholera) plays Dalser with the kind of fervent intensity once seen in silent films.
  7. The jazzish score, by Lee's music man, Terence Blanchard, is typically intrusive. But the mood is right, the twists are new. And with one casting inspiration, Inside Man furthers the rising stardom of Chiwetel Ejiofor (Serenity).
  8. What hooks you from the start is Dakota Fanning's unfussy passion as Fern.
  9. Janet McTeer displays Amazonian power while Jennifer Jason Leigh tears into her role as a high maintenance creature with a ferocity that leaves little room for her usual acting tics.
  10. 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.
  11. The War Tapes captures how the war in Iraq, for all its terrible carnage and death, is in a way too random in its destruction to even be called ''combat.''
  12. Real Steel is directed by "Night at the Museum's" Shawn Levy, who makes good use of his specialized skill in blending people and computer-made imaginary things into one lively, emotionally satisfying story.
  13. The savviest and most exciting Bond adventure in years, and that's because there's actually something at stake in it.
  14. Riveting true-life drama.
  15. While this sequel lacks the novelty of the first course, it's just as soulful and silly.
  16. I will salute the deftness and intelligence with which Goldfinger observes the reactions of the living to the revelations of the dead.
  17. Firth plays him as a man of his time who is also mournfully ahead of his time. He's addicted to his own broken heart. A Single Man may break yours as well.
  18. The dean was more of a cartoon in Roth’s book, but Letts lends him a slippery wit that, much like the movie, is surprisingly potent.
  19. The nonprofessional cast of Bahman Ghobadi's remarkable, slow, rough edged feature reveals a simple, piercing grimness and determination framed by the gray, icy landscape of Iranian Kurdistan.
  20. The film's darkly bedazzled view of the '70s is spurred by great dish from André Leon Talley, Liza Minnelli, and Nile Rodgers, who set the stage for Halston's triumphs - and his jaw-dropping fall.
  21. Stepping into sacred shoes once worn by Kevin Bacon, Wormald handily owns the role for a new audience. Same goes for a terrific Miles Teller (Rabbit Hole) in the sidekick role of Willard so memorably originated by the late Chris Penn.
  22. The rare commercial comedy that leaves you entranced by what can happen only in the movies.
  23. Raquel's devotion to her employer is barbed with hatred, need, and an insecurity she manifests through constant tiny acts of sabotage that would be funny if they weren't also so chilling -- bordering on psychotic.
  24. The tonal elegance of this black comedy set in a dark time -- is boldly dependent on performances that tug at taut lines of moral complexity.
  25. Even though Jarmuch has a distinct directorial style, it’s his style. It’s impossible to imitate. These days, I can’t think of a higher compliment.
  26. It's a comedy of manhood for the age of emasculation.
  27. Bad Lieutenant doesn't go where you expect, but it has a stubborn, trippy logic.
  28. An 
unexpectedly revealing, disconcerting documentary that benefits from the filmmaker's unmediated approach, his home-movie-
quality visual style, and his controlled use of on-the-fly moments.
  29. Moncrieff pushes a view of women as victims that might create its own pornography of masochism if it didn't touch so many authentic shattered nerve endings.
  30. The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.
  31. A pitiless yet elegiac Australian Western as caked with beauty as it is with blood.
  32. A muscular sequel to To's riveting 2005 gangster picture "Election."
  33. Lathan, charismatic and beautifully strong, holds the screen in every scene.
  34. Leconte (''Ridicule'') gives his heart to the luck of romance, to the dream state visual style of Fellini, and, most lyrically, to the passion of the dagger point swoon.
  35. This super-duper deluxe nature documentary clearly aims to recruit young viewers as conservationists.
  36. So Much So Fast (spanning five years) elegantly presents both a critique and a celebration of American optimism.
  37. As a flight of fantasy, Jurassic Park lacks the emotional unity of Spielberg's classics ("Jaws," "Close Encounters," "E.T."), yet it has enough of his innocent, playful virtuosity to send you out of the theater grinning with delight.
  38. The result is a portrait that expertly mirrors its subject: Buck is shaped with the same economy, restraint, and unfussiness as the man, to unexpectedly inspiring effect.
  39. Bilbo, as played by Freeman, suggests a sly-dog Dana Carvey without irony, and he is certainly overmatched, but that doesn't mean he's outplayed. Desolation is now his business.
  40. Using newsreel footage, clips of artistic propaganda (e.g., joyful proletarian farm ballets), and interviews with survivors, the movie draws us into the annihilating fervor of an era in which purge followed upon purge, in escalating waves of terror and control.
    • 32 Metascore
    • 91 Critic Score
    Parents who have had to sit through a myriad of mindless kids movies will appreciate a chance for their kids to be themselves at the theater and to be silly right alongside them. On the whole, it can serve as a good introduction to the movie-going experience.
  41. There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
  42. The fine Polish director Agnieszka Holland (Europa Europa) pays her respects with a daringly murky-looking movie that demands viewers enter the void too and meet Socha and his Jews as real, flawed men and women behaving in flawed ways under suffocating conditions.
  43. A wondrously sly, moving, odd portrait—perfectly befitting its subject.
  44. Tough to watch, but essential.
  45. This funny, gory stab-athon is as sophisticated about the mechanics of Part 2s as the original was savvy about horror flicks.
  46. Glacially told gem from animator Isao Takahata, the 78-year-old cofounder with Hayao Miyazaki of Studio Ghibli.
  47. It's a thin line between 20th-century Nazism and 21st-century corporate culture in Heartbeat Detector, Nicolas Klotz's rewardingly chilly psychological thriller.
  48. It’s real life, heartbreaking and sublime.
  49. A nimble and supple and moving comedy.
  50. While its strange rhythms may not be for everyone, it does provide something unusual in today’s movies: a truly original experience for the mind and the soul.
  51. The movie is literally a series of showstoppers, unified by the impulse to turn life, at its scruffiest, into theater - into a rhapsody of the everyday.
  52. What matters now, what Lumumba conveys, is the urgent chaos of revolution.
  53. Creates a flow of symbolism so potent, so transporting in its physicality, that its impact all but transcends its righteous liberal ''meaning.''
  54. This sincere, delicate, and intrinsically religious comedy may also become that most unexpected of blessings - Danny Boyle's first family classic.
  55. Lynch's first movie since ''Blue Velvet'' that truly envelops you in its spell. It's a piece of celestial Americana -- his journey to the light side of the moon.
  56. It's Bale, and his almost biblical quest for justice, who burns his way into your soul.
  57. Frankenweenie is a cool little flipbook of historical Burtonian style. It even brings back old friends, including "Beetlejuice's" Winona Ryder and Catherine O'Hara.
  58. Any doubts as to whether Sienna Miller is a gifted actress should be laid to rest by Interview.
  59. Goes where all too few films dare to venture these days -- into the heart of moral darkness.
  60. A warm and honest portrait of a marriage at its most mysterious, and ordinary.
  61. Noyce's movie works because the director -- trusts himself, and his audience, to understand that catastrophe isn't always a matter of loud ideology. Rather, it's the result of age-old human weakness. And sometimes it's quiet.
  62. After a while, a didactic overdeliberateness seeps into Noé's design, but there's no doubt that he's a new kind of dark film wizard: a poet of apocalyptic shock.
  63. The home-studio recording sequences in Hustle & Flow are funky, rowdy, and indelible. Brewer gives us the pleasure of watching characters create music from the ground up.
  64. The deliriously enjoyable noir comedy-thriller Kiss Kiss, Bang Bang does nothing by halves and everything by doubles.
  65. Fonteyne edges closer than most to capturing the mysterious rhythms of liaisons -- pornographique, romantique, and otherwise.
  66. Freshly transplanted from the stage, is a thrilling ode to the intertwined glories of sex, showmanship, and lying: what the film calls ''the old razzle-dazzle.''
  67. 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.
  68. It's a film noir that grows more potent as its secrets are revealed.
  69. Feels delightfully organic, eccentrically rambling, the found artistic collage of a woman who herself loves to collect.
  70. Gere is terrific at suggesting the kind of addictive cocktail of excitement, panic, chutzpah, creativity, and naked hunger for fame and megabucks that might inspire such big, fat lies.
  71. Following 2009's "Bluebeard," French filmmaker Catherine Breillat continues her unique and psychologically, erotically daring deconstruction of classic fairy tales and the female condition.
  72. What's new about the unsensationalized portrait of one-day-at-a-time progress (and setbacks) is the low-key energy of this drunks' tale, by and for a generation with a high tolerance for humor and a low tolerance for soapiness.
  73. Bong Joon-ho's wildly entertaining saga should become the hip, thinking-person's monster movie of choice.
  74. It’s heartbreaking, illuminating, and yes, fantastic, just to watch her (Marina) live.
  75. While Rodriguez punches through the indie clutter to announce herself as a superb new movie talent, so Kusama scores big points in her first main event.
  76. The thrilling conclusion to a phenomenal cinematic story 10 years in the telling, Harry Potter and the Deathly Hallows - Part 2 is proof that authentic movie excitement is its own form of magic.
  77. Many have tried, but none can match Malick's touch for shuffling a deck of elegiac images (water/sky/clouds/rain) and fanning out the hand to express what speech cannot; he's a master, too, of incorporating sound that is often wordless but never empty.
    • 69 Metascore
    • 91 Critic Score
    Instead of treating puppy love like child’s play, Blue Jay savors the fantasy of foundations built in adolescence, kindled while the heart is still young, and draws out the agonizing reality that romance ultimately fizzles out of necessity as we age and mature.
  78. Wilkinson once again astonishes with his ability to convey weakness and strength, hypocrisy and gallantry, cruelty and compassion in the same male animal.
  79. 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.
  80. [A] harrowing documentary.
  81. Dazzling psychological cat-and-mouse drama.
  82. The film doesn't turn its issues into a glorified essay, but it does use them to give the audience a vital emotional workout.
  83. 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.
  84. A bouncy, well-built, delightfully nasty tale of resentment, desperation, and amoral revenge that does for employer-employee relations what Danny DeVito and Bette Midler did for the bonds of matrimony in the great 1986 Zucker brothers comedy "Ruthless People."
  85. This brave documentary takes on the topic of anti-Semitism in a relentlessly probing and original way.
  86. Zathura is a rarity: a stellar fantasy that faces down childhood anxieties with feet-on-the-ground maturity.
  87. Part of Me works hard to prove it's more than a glorified infomercial, and one reason it is more is that Perry has a startling story to tell.
  88. Even when its emotions risk running as cool as its palette, 2049 reaches for, and finds, something remarkable: the elevation of mainstream moviemaking to high art.
  89. That’s the movie’s greatest feint, though: Ultimately, it’s far less interested in galactic destiny than the infinite, uncharted landscape of the human heart.
  90. The bottom line, for me, is this: I don't scare easily at horror films, but I watched Paranormal Activity 3 in a state of high anxiety.
  91. For a while, the girls' personalities seem almost interchangeable, but that's part of the texture. Katie Chang gives the leader a ripe synthetic glow, and Emma Watson does a remarkable job of demonstrating that glassy-eyed insensitivity need not be stupid.
  92. 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.
  93. The script is a steady accretion of small stabs to the heart, propelling the gorgeous performances of Berling, Regnier, and especially the 76-year-old French cinema veteran Bouquet, whose every faint smile is killing.
  94. Iron Man 3 is an ominously exciting, shoot-the-works comic-book spectacular.
  95. 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.
  96. In his debut feature, the director is wise enough to move his hand-held camera wherever Steen wants to go.
  97. At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
  98. Rarely have two actresses been so effortless in their intimacy.

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