Entertainment Weekly's Scores

For 6,163 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 Memento
Lowest review score: 0 Gun Shy
Score distribution:
6163 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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?
  5. With its propulsive punk-rock soundtrack and beautifully rough cinematography, Dragonslayer makes you care about this scrawny young man, skating to nowhere.
  6. Everything is vast and hugely ambitious in Martin Scorsese's magisterial, scrambled historical epic.
  7. 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.
  8. Kusama ratchets the story’s tension masterfully, building to a final shot that’s as chilling as it is perfect.
  9. Many of the characters go by two different names. So best advice for optimum viewing is, see Broken Embraces...twice.
  10. Her death was shocking; this well-made telling of her life is inspiring.
  11. Gripping, highly original.
  12. 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.
  13. The film defuses all preconceptions about the ''issues'' of transsexual identity to arrive at a place of tremulous human power.
  14. Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
  15. A spectacular windup toy of a thriller -- a contraption made by an artist.
  16. It's scary good fun.
  17. 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.
  18. For the most part it succeeds, gorgeously — though it will probably make anyone over 30 feel either mildly outraged or wildly irrelevant.
  19. 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.
  20. 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.
  21. A satisfying contraption of twists, missteps, and blithe repartee that produces old-fashioned, honestly earned guffaws.
  22. 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.
  23. "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.
  24. 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.
  25. 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.
  26. Bleak, scathing, and utterly compelling.
  27. The charm and art of De Felitta's gentle domestic sketch expand far beyond biographical borders.
  28. A sprightly, lovingly researched, rather misty-eyed sports documentary that's steeped in ethnic pride.
  29. 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.
  30. 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.
  31. Acting doesn't get more personal, or much greater.
  32. The movie is also visually magnificent - modestly so. Plus, it's half the length of "Avatar."
  33. In 1960 this was a shocking, sexually charged symphony of taboo-smashing terror. And thanks to the artistry of Alfred Hitchcock, it remains one today.
  34. Like Crazy tells the truth, simply: Love is thrilling. And - just because of the way life happens - sometimes love hurts.
  35. Hoffman plays Dan Mahowny's addiction to instant money as something dirty and private and, at the same time, soul-quickening.
  36. 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.
  37. The Great Buck Howard is in love with kitsch, the backwaters of showbiz, and true magic. It's a wee charmer that left me enchanted.
  38. Godzilla is still the most awesome of tacky movie monsters.
  39. In the end, the most impressive performance may be Spike Lee's. He uses skill without gimmickry, flash without fuss, to tap the mesmerizing soul of this pulp.
  40. So much goes down on Nick and Norah's one enchanted evening that the best advice is to enjoy the ride -- the actual ride -- around this vibrant new New York.
  41. A pleasurably unsettling, sunbaked tale of sex and politics set in late-1970s Haiti.
  42. A movie of tough excitement and surprise, even grace.
  43. Jaoui handles her crowd of vivid characters so naturally, and shoots her scenes so unobtrusively, that the diagrammatic cleverness of the plot never overwhelms the intelligence of the observations.
  44. The title of Loveless is no misnomer: It might just be the feel-bad movie of the year. A new word should be invented for the particular kind of poetic, politically-charged bleakness acclaimed filmmaker Andrey Zvyagintsev (Leviathan, The Return) brings to the screen, some Cyrillic-alphabet cousin to the Germans with their weltschmerz and schadenfreude.
  45. Aaron Paul has key scenes as the drone pilot who actually has to pull the trigger, but it’s the late Alan Rickman, as Mirren’s superior, who steals the film.
  46. Kelly, the 26-year-old writer-director of this excitingly original indie vision, shares more artistically with Wes Anderson or Paul Thomas Anderson than he does with Spielberg or John Hughes, but the point is, he's out on his own here. He swings big -- with flair.
  47. Amir Bar-Lev's engrossing film is as much about the stubborn ambiguities of art, truth, meaning, and relationships as it is about the authenticity of the Olmstead oeuvre.
  48. This tender documentary considers the mysteries of both art and coping.
  49. Crystal turns in his best (read: least sappy) performance in ages, getting through an entire movie -- most of it, anyway -- without mugging.
  50. On the Outs parses the hopes and terrors of blasted lives with an empathy that never cheapens into pity. The movie wounds as much as it heals, and that's its true power.
  51. Earnest messages about bad climate change and good parenting skills have been replaced by a we-all-share-a-planet sense of fun that's more "Finding Nemo" than National Geographic.
  52. The players are timelessly familiar in American Teen, too. But filmmaker Nanette Burstein tells their stories with a distinctly 21st-century pop and audacity.
  53. The end will haunt you.
  54. 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.
  55. Agreeably skewed fun.
  56. The movie is Mike's story, and Channing Tatum proves himself a true movie star. His Mike glides through the world with the ease of a god, and on stage he's electrifying.
  57. Trekkies is hilarious, fascinating, and, at times, almost scary.
  58. Fantasy leaks into reality.
  59. The startling power of Tomboy, a beautiful, matter-of-fact French drama about a young girl who wants to be a boy - and for one singular summer around her 10th birthday passes as one - begins with the one-of-a-kind natural performance by Zoé Héran as Laure.
  60. Amreeka is strategically inviting and carefully mild even when making unsubtle points about Palestinian suffering and American insensitivity.
  61. Thrilling little epic set in the bewildering arena of the English language.
  62. Loach’s film isn’t as stridently political as it probably sounds. These are just proud people who want to be treated with respect. There’s one slightly melodramatic turn near the end that felt off, but by then I was already three tissues deep.
  63. I will say that it's been a while since a romantic comedy mustered this much charm by looking this much like life.
  64. If only for the comedy glory of Sigourney Weaver as a TV network president who confuses acid reflux with gut instinct, this very smart, very funny movie about the making of a network sitcom is a cut-glass gem of a showbiz conceit.
  65. 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.
  66. You could describe Margin Call as a thriller (it's wired with suspense), yet the tension all comes from words.
  67. His film is an essential, fascinating critique—and product—of our ''look at me'' culture.
  68. It’s obvious that Kaufman has always seen the world differently from the rest of us. And even if it takes a little time to settle into Anomalisa’s disorienting, herky-jerky groove, Kaufman ends up bewitching us with his fresh take on the oldest and most hackneyed of cinematic themes: boy meets girl…and anxiety ensues.
  69. I don't know what tools of the trade Paul Rudd and director David Wain share to dream up the kind of inspired nutso stuff Rudd has done in smart-funny-raunchy winners like "Wet Hot American Summer" and "Role Models." But whatever it is, the two are in a groove - and backed up by some blissed-out creative co-conspirators.
  70. The blessings of salvation have rarely felt so mixed, the parameters of Lolita-hood so elusive - which is exactly Martel's specialty.
  71. Spirit, animal, and human worlds coexist in dreamy harmony in this remarkable drama.
  72. But Solondz also creates keen portraits of the participating characters in Dawn's daily drama. (The only downside: The drama veers unsteadily toward outlandishness.)
  73. If Linklater goes to a bit of an extreme here, it's in making both characters so intelligent and sincere, so ardent and giving, that they seem a little too good to believe.
  74. Blithe and exhilarating romantic comedy.
  75. A stirring action movie -- in the international manner of ''The Fast Runner'' or ''No Man's Land."
  76. If I ran the circus, the gang that made the sturdy, witty, inventively animated Dr. Seuss' Horton Hears a Who! would get first dibs on any future movie productions of the Theodor Seuss Geisel canon.
    • 79 Metascore
    • 91 Critic Score
    This genteel period piece invites a typically Mametian tension between its characters' stylized manners and their underlying motivations.
  77. What blows us away is the power of Ifans' moist puppy eyes and chilling smile as a true believer undeterred by reality.
  78. Crystal’s ordinariness — his utter lack of glamour — really works for him here. He’s far more pleasureful to watch in this sort of dramatic-comedy role than, say, Robin Williams, because his comfy, urban-shlemiel personality helps ground the jokes.
  79. In the juxtaposition of cataclysmic matter-of-fact misery and cinematic poetry, the filmmaker finds a calmly stunning way to convey the experience of living with death as something intimate, and, unnervingly, almost natural.
  80. Superb family drama.
  81. French mood-and-feeling master filmmaker Claire Denis returns to the Africa of her youth for an intense, mysterious drama exploring revolution and loss.
  82. Then there's Todd Solondz's Palindromes, which is that rare event: a memorable provocation.
  83. A domestic tragedy of lacerating vision.
  84. The worldview, the sense of childlike fun shaded with adult melancholy, and the joyful, serene attention to visual oddity and wordless beauty could only be made in Japan. And, specifically, made by Hayao Miyazaki.
  85. The director of The Descent is savvy enough to suggest even more than he shows. And he's old-school enough to load up on glimpses of good, clean, gruesome gore.
  86. The scary culminating flashback, in which Stephanie gives birth -- in a public restroom, on a high school ski trip -- is a marvel of authentic disturbance.
  87. A cheeky, great-looking, thoughtfully loopy creature feature about the lure and dangers of cutting-edge gene splicing.
  88. Directed by Tony Scott, Crimson Tide is the kind of sumptuously exciting undersea thriller that moves forward in quick, propulsive waves.
    • 59 Metascore
    • 91 Reviewed by
      Ty Burr
    The film captures how the constant turnover of students keeps educators poised between loss and rebirth, fuddy-duddyism and eternal kiddishness. That balance is there, most pleasurably, in Dreyfuss’ performance. The wonders of makeup and hairpieces have taken 20 years off his age, and his acting feels 20 years younger, too. He has an edgy vigor here that recalls his ebullient star turns of the late ’70s.
  89. City of Ghosts shows us what journalism can do in the face of evil. Its message is haunting, humane, and ultimately hopeful.
  90. There's no great romantic climax to Don Juan DeMarco (and that may be a drawback for Depp lovers looking to swoon), but there is an airy delicacy to this tall tale that fits in perfectly with the weather these days, the hormones, the whole seasonal gestalt.
  91. Birdman is a scalpel-sharp dissection of Hollywood, Broadway, and fame in the 21st century. But more than that, it's a testament to Keaton's enduring charisma and power as an actor. He soars.
  92. Most of all, it's a sobering look at a part of coastal America that will never be the same again.
  93. Sean Baker's singular little ultra-indie is a strikingly unsentimental study in female friendship between unmoored souls in L.A.'s bleached, glamour-challenged San Fernando Valley.
  94. This one, as thoughtful as it is rousing, scores a TKO.
  95. The Jungle Book is a tender and rollicking fable that manages to touch on some grown-up themes about man’s destructive power and the loss of youthful innocence without losing sight that it’s first and foremost a gee-whiz kids adventure.
  96. 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.
  97. Deliciously twisty and twisted.
  98. Overflowing with hyperactive charm and a spectacular sea of colors, it showcases some of the most breathtaking animation we've seen this decade.

Top Trailers