Entertainment Weekly's Scores

For 5,868 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 Amour
Lowest review score: 0 Doogal
Score distribution:
5868 movie reviews
  1. Rachid Bouchareb's intensely dramatized, passionately partisan story of militancy in the struggle for Algerian independence from France after World War II makes effective use of "Godfather" storytelling theatrics.
  2. Tangerine is touching for its non-condescending stance toward working girls and the spirit of the sidewalk.
  3. As unsettling as Marielle Heller’s feature-film debut can be — there are moments you’ll ache for Minnie and other ones where you’ll want to lock her away — it rings much truer than most coming-of-age stories.
    • 66 Metascore
    • 91 Critic Score
    With its stylized black-and-white sequences and fast-paced melodramatic plot, this homage to film noir is both intense and purposely self-conscious.
  4. Each and every character in Christopher Guest's latest hilarious cultural corrective is something inspiring to behold.
  5. The film says that the U.S. immigrant situation is untenable, but then it forces US to ask: What should be done?
  6. When the submarine has to dive 400 meters beneath the surface to avoid detection, you can practically feel the water pressure crushing in on the sailors.
  7. The fascination of Dig! is that it invites those of us who aren't alt-rock obsessives into the hive, yet it never feels like a dilettante's tour.
  8. In hovering, The Squid and the Whale becomes its own realistic display of family entropy, as cautionary as it is educational.
  9. Nothing I've read about Iraq or seen on TV in the past few weeks has felt nearly as real and intimate as this commanding fiction.
  10. With an outstanding screenplay by Brian Koppelman and disciplined direction by Koppelman and David Levien, a story that could have been generic (or worse, scented with flowery bulls---) turns into a precise, honest, and affecting drama.
  11. Leigh gives you such a strong sense of his characters as fluky individuals that even his most lackadaisical scenes are alive with possibility. What holds Life Is Sweet together is his perception — at once funny and wise — that people, when they change at all, do so in small, nearly imperceptible ways, and that that may be enough.
  12. Known for distinctive horror movies like "Cure" and "Pulse," inventive Japanese filmmaker Kiyoshi Kurosawa finds just the right melancholy tone to suit a new and all too familiar kind of horror: economic downsizing.
  13. Don't be fooled: In this unpeaceable kingdom, the den mama is also ready to eat her young.
  14. The superb character actor Celia Weston (In the Bedroom) is truly breathtaking as Ronnie's boozer mom.
  15. Peter Berg's scandalous sick-joke thriller is packed with rude and clever twists, and it delves, with surprising force, into the hypocritical postures of corporate-era male bonding. The cast is terrific, especially Christian Slater.
  16. Just when you're certain that Jarmusch is treading water with his borderline-tedious cleverness, something happens: Coffee and Cigarettes turns into a movie FULL of talk -- rich, supple, hilarious, masterfully orchestrated talk.
  17. 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.
  18. Surges with an energy and visual verve that improve the play and enhance the themes of dramatist Peter Morgan's script.
    • 71 Metascore
    • 91 Critic Score
    Unfolds with such unforced inevitability that absurdity never condescends to sticky adorableness.
  19. A reality-twisting cousin to "Being John Malkovich" -- showcases a Van Damme who's sly like a fox about his own image.
  20. You need know nothing about Italian politics to completely enjoy the fantastical, Fellini-fied, tragi-comic, biographical fun-for-all Il Divo.
  21. The result is an engrossing chronicle of creative people under pressure, a movie about the madness of opera for which no knowledge of opera is required for full enjoyment.
  22. The most beautiful movie ever made about a man who could only move one eyelid -- almost dangerously beautiful.
  23. But the story is, still and all, only a pause, deferring an intensely anticipated conclusion. And it's in that exquisite place of action and waiting that this elegantly balanced production emerges as a model adaptation.
  24. Soderbergh is able to execute his games without pigeonholing his characters. He has made that rare thing, a modern-day noir with feeling.
  25. Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.
  26. The movie was a major success for Melanie Griffith, sure, but it was as the secretary's boss ... that Weaver combined all of her star qualities, pulled in laughs, and took home an Academy Award nomination for Best Supporting Actress.
  27. Of all the shocks in the riveting and timely political thriller Paradise Now, the most unsettling may be the dignity bestowed on a pair of prospective Palestinian suicide bombers.
  28. The breath of cinematic life, though, the sensibility, the energy, belong to Joel and Ethan Coen, and this is their stirring success.
  29. Breathless and petite yet powerfully in-your-face, Fisher combines dizzy femininity and no-nonsense verve in the manner of a classic screwball heroine. She's like Carole Lombard reborn as a tiny angel-faced dynamo.
    • 73 Metascore
    • 91 Critic Score
    Who knew that Brat Packer Sheedy would shine as a heroin-addicted photographer who had too much fame too early?
  30. In its audacious strangeness, the movie manages to do something history hardly ever gets to: surprise us.
  31. The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.
  32. A dark and hilarious thwomping of the whole miserablist British gangster genre.
  33. For nostalgia junkies, it's one from the heart.
  34. A visually stunning, richly imagined oasis in a sea of candy-colored safety, and one of the first truly original movies of the year so far.
  35. The writer-director, Peter Sollett, cast the film with kids from his own neighborhood, who give themselves over to the camera with a spirit of improvised play that morphs into vivid, layered acting.
  36. Exquisitely structured, pitiless study of a middle-aged man trapped in a stagnant emotional weather pattern.
  37. Out of the zany strictures of Dogma 95...Danish newcomer Thomas Vinterberg has made a funny, volatile, visually dynamic story about the unraveling of one extended family during the course of a patriarchal 60th-birthday dinner.
  38. As the film goes on, their rebellious thirst for freedom and independence slowly builds to a physical and psychological emancipation that Moselle never quite follows through on. Still, she’s discovered a stunning, stranger-than-fiction story and tells it with sensitivity, intimacy, and compassion.
  39. Does the movie, with its sock-puppet intros and narration by RuPaul Charles, mock Tammy Faye, sanctify her, or turn her into a flamboyant image of distressed womanly martyrdom -- the Judy Garland of televangelism? All of the above.
  40. What could have been a parlor game becomes a surprisingly rich sketchbook, boosted by the work of fine actors.
  41. The result is something as original as it is unlikely: a study in grief that is flooded with happiness.
  42. The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
  43. Without doing anything so divisive as taking sides, The Counterfeiters pays sympathetic attention to those who play their cards to win even when the rules are terrible, not least because the remarkable Markovics, an Austrian TV actor with a pugnacious anvil of a head, is so riveting as an unsaintly survivor.
  44. 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.
  45. Even blood, spilled so freely, has a distinctive intensity of red in this beautiful and harrowing film.
  46. It's a tiny, sunny character study about a fat guy who's an unlikely chick magnet. And as such it's a pip.
  47. One hell of a creepy little eco-horror picture.
  48. Havana’s crumbling trapped-in-time beauty also plays a starring role, but it’s Medina who provides the movie’s raw, tender heart.
  49. In Please Give, the sharp-eyed filmmaker sends her vibrant representative out into the world to explore what it means for a woman to be lucky and still feel itchy. The report has the resonant ring of truth.
  50. The fetching cast (including Jennifer Beals as a histrionic girlfriend), while a long way from Gwyneth and Matt stature, nevertheless reflects Stillman’s enhanced status as an established indie talent.
  51. Turns the tricks of psychology into duplicitous high play.
  52. As an introduction to a first-class director who shouldn’t require any introduction at all, By Sidney Lumet is a thoughtful and thought-provoking treat.
  53. John Wick, is not only a return to badass form for the actor, it's also one of the most excitingly visceral action flicks I've seen in ages.
  54. Days after I saw The Artist, I was still thinking (and grinning) about it, because the movie's real romance is the one between us, the jaded 21st-century audience, and the mechanical innocence of old movies, which here becomes new again.
  55. Not short on broad physical humor. But Simmons is a brilliantly detailed grotesque capable of withstanding comparison to his most obvious inspiration, Ricky Gervais' "Office" boss David Brent.
  56. The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
  57. Turns out to be the funniest, most risk-taking, most incisive movie of the summer.
  58. It takes skill these days, if not nerve, to put a vital, happy nuclear family on screen and to invite us to share in every quiet tremor, every gentle jostle and smile of their steady, deep-flowing contentment.
  59. Talented filmmaker Susanne Bier (Brothers), armed with an outstanding compositional sense, keeps control over the storms of melodrama that swirl in this rich weepie.
  60. It's the rare kind of moviegoing experience that will haunt you long after you leave the theater and lead to some very awkward conversations with your spouse.
  61. Paddington is fast-paced yet unhurried, serving up surprisingly subtle ideas on melting-pot urban diversity—Paddington is a stranger in a strange land, after all—and rich visual tableaux, including a gorgeous recurring shot of the Brown home as a living dollhouse.
  62. A rowdy, richly offbeat biopic.
  63. Sky Captain is a gorgeous, funny, and welcome novelty.
  64. A stunning study of one desperate woman's conscience.
  65. Deconstructing Harry is Woody Allen's naughty-boy confessional movie, a disquietingly candid and funny portrait of a pathological narcissist.
  66. Romantic comedies usually strike one or two moods, but in Afterglow, the writer-director Alan Rudolph runs through rainbows of feeling in a single scene.
  67. Moving and marvelous new cross-cultural family saga.
  68. The subtle selectivity of Leconte's eye, how he moves with great control from gesture to gesture, is matched by the disciplined intensity of the performances.
  69. There have, over the years, been a lot of terrific undersea documentaries, but if you want to know what distinguishes this new one, it comes down to a single word: technology.
  70. The clever and infectious reboot of the amazingly enduring sci-fi classic, director J.J. Abrams crafts an origin myth that avoids any hint of the origin doldrums. That's because he rewires us back into the original Star Trek's primal appeal.
  71. An Inconvenient Truth can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?
  72. With its propulsive punk-rock soundtrack and beautifully rough cinematography, Dragonslayer makes you care about this scrawny young man, skating to nowhere.
  73. Everything is vast and hugely ambitious in Martin Scorsese's magisterial, scrambled historical epic.
  74. Part of what makes One False Move so engrossing is the way the characters keep revealing new, darker sides. The movie is about hidden American links — between city and country, cop and criminal, and the black and white subcultures of the rural South.
  75. Kusama ratchets the story’s tension masterfully, building to a final shot that’s as chilling as it is perfect.
  76. Many of the characters go by two different names. So best advice for optimum viewing is, see Broken Embraces...twice.
  77. Her death was shocking; this well-made telling of her life is inspiring.
  78. Gripping, highly original.
  79. MIB3 is one giant leap for mankind because Josh Brolin shows up to play the younger Agent K. And he just nails the feat, triumphantly creating a riff on/homage to the Tommy Lee Jones-ness of K that goes much deeper (and funnier) than a simple imitation of drawl and speech patterns.
  80. The film defuses all preconceptions about the ''issues'' of transsexual identity to arrive at a place of tremulous human power.
  81. Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
  82. A spectacular windup toy of a thriller -- a contraption made by an artist.
  83. It's scary good fun.
  84. Speaking of second chances, Monsters University is exactly the rebound Pixar needed after 2011's "Cars 2" left some wondering if the studio had lost its magic.
  85. For the most part it succeeds, gorgeously — though it will probably make anyone over 30 feel either mildly outraged or wildly irrelevant.
  86. As father and son speed toward some doomsday reckoning, Nichols keeps us guessing in a way that evokes "Close Encounters of the Third Kind." Midnight Special is a more modest, more enigmatic film than that one was, but it’s no less gripping.
  87. It takes skill — a certain sly, even perverse nimbleness of craft — to make an homage to schlock movies that treats them as works of art.
  88. A satisfying contraption of twists, missteps, and blithe repartee that produces old-fashioned, honestly earned guffaws.
  89. The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.
  90. "Old Boy's" vivid star Choi Min-sik plays a terrible schoolteacher -- yet another damned soul in Park's inflammatory, inimitable movie inventory of hell on earth.
  91. The supersmart and rousing Moneyball, which may be the best baseball movie since "Bull Durham," is also about talk, but in a coolly heady and original inside-the-front-office way.
  92. 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.
  93. Bleak, scathing, and utterly compelling.
  94. The charm and art of De Felitta's gentle domestic sketch expand far beyond biographical borders.
  95. A sprightly, lovingly researched, rather misty-eyed sports documentary that's steeped in ethnic pride.
  96. On the eve of Wuornos' 2002 execution, Broomfield digs deep into her abusive hell of a background (beatings, incest, sleeping homeless in the frozen Michigan woods) as well as her quasi-psychotic defense mechanisms.
  97. The Passenger isn't finally the masterpiece some have made it out to be, but it retains a singular intrigue: It's the first, and probably the last, thriller ever made about depression.

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