Entertainment Weekly's Scores

For 5,337 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 3.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 Ace Ventura: Pet Detective
Score distribution:
5,337 movie reviews
    • 85 Metascore
    • 42 Critic Score
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
    • 84 Metascore
    • 58 Reviewed by
      Ty Burr
    A sumptuous two-and-a-quarter-hour emotional epic built on one lachrymose climax after another. What little plot there is exists only to set up the next Big Cry.
  1. Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
  2. It is also glib, shallow, and monotonous, a movie that spends so much time sanctifying its hero that, despite his "innocence," he ends up seeming about as vulnerable as Superman.
  3. If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
  4. 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.
    • 81 Metascore
    • 58 Critic Score
    Penn's film oozes an intellectual's fashionable contempt for the characters.
  5. 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.
  6. If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
  7. The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  8. A strange history lesson that leaves us more overlectured than properly overwhelmed.
  9. The stab at sublimity-by-proxy doesn't take.
  10. The film is almost deliriously stylish, which helps mask the silliness. But the bellowing music, by John Adams, is infuriatingly intrusive -- which undoes the visual good.
  11. You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
  12. Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  13. Jammed with banner-ready political rhetoric, and the relentlessness of the lectures is wearying. The plot, on the other hand, is a standard contraption built on enduring urban anxieties and involving a nasty hotel-room trade.
  14. As a film, Under the Skin is hauntingly freaky and ultimately frustrating. But as a movie star's gamble to be seen as more than just a moneymaking member of the Marvel universe, it's a home run.
  15. Everything is aces about this lineup's pedigree. But Devil never lets loose. It's a jazzy composition about sex, sleuthing, corruption, race, and cheap liquor that's a half step out of tune.
  16. Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
  17. Lacks confidence in its own much bigger, potentially fascinating story -- an American tale of pageantry and history.
  18. An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
  19. The movie takes the form of a lackluster women's-prison picture.
  20. Unfortunately, most of the two-hour documentary is devoted to annotating what the Nazis stole for both their state and personal collections. The movie doesn't dramatize this crime -- it catalogs it. With deadening monotony.
  21. To see this much austere vérité atmosphere propping up this much schlock romanticism is like biting into a blue-cheese canapé that turns out to be a fluffernutter.
  22. For two and a half hours, Edel lays out the bombings, kidnappings, and murders committed by the Baader-Meinhof group, which mutated into the RAF. He catches the violently delusional self-righteousness of their antifascist fervor, but as individuals these cultish guerrillas remain opaque.
  23. Director Joe Angio presents the group's music with the contagious enthusiasm of a diehard, but exuberance is no substitute for storytelling, and Revenge of the Mekons is in desperate need of a narrative path.
  24. The film is so self-conscious it seems to be dictating your every reaction.
  25. It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
  26. It's a tease of a satire that never really follows through on its audacious premise.
  27. A historical drama as static as it is stately.

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