Entertainment Weekly's Scores

For 5,393 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 Me and You and Everyone We Know
Lowest review score: 0 Gummo
Score distribution:
5,393 movie reviews
  1. A historical drama as static as it is stately.
  2. All those twangy, homespun observations interrupt and annotate the narrative until Black and MacLaine's scenes start to feel as trivial as reenactments on a true-crime TV show.
  3. Glazed over by its worship of Che Guevara.
  4. More noteworthy for its intentions than its execution.
  5. It’s a decent critique of romance in the digital age—until you realize how boring it is to watch people break up on Facebook.
  6. A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  7. In this bleak indie bummer that confuses hopelessness with depth, they're really nothing more than selfish, one-dimensional monsters. Maisie's better off without them.
    • 74 Metascore
    • 58 Reviewed by
      Ty Burr
    Judging by the title, though, Sprecher made the movie she wanted to make, and if you're in the right damp-wool mood, you may connect with it too.
  8. At best, his poker-faced vignettes nail the icy comedy of war: A man chats on his cell phone, unworried about a tank targeting him a few feet away. At worst, they're totally opaque and unmoving.
  9. At once spectacular and inert -- a mosaic impersonating a movie; an empty-shell epic.
  10. If Take My Eyes explored how a woman could still feel for a man who abused her, it might have gripped us with its difficult truths. But the movie presents Pilar and Antonio's marriage as a stale, neurotic dead end.
  11. A movie in which the easy socio-racial paradoxes have been diagrammed with more care than the relationships
  12. Oldboy caused a love-it-or-hate-it stir at Cannes last year, and how could it not: It's an onslaught made to cause a sensation. Consider me simultaneously jolted and depressed.
  13. As a thriller, this 21 2-hour production takes a slow route between short bursts of excitement.
    • 74 Metascore
    • 50 Critic Score
    A sluggish procedural on what it was like to make the journey to Ellis Island back in the day.
  14. The film has the same moral design as "Dead Man Walking," but since it never gets inside the darkness of the killers' minds, it's really just a rambling episode of "A Current Affair."
    • 74 Metascore
    • 58 Critic Score
    The movie -- which never decides if it's a fantasy or coming-of-age story -- spends a lot of time away from Terabithia; that also leaches out the wonder. The boy seems more excited that Zooey Deschanel is his hottie music teacher than he is to see tree men in the forest.
  15. Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
  16. In A Scanner Darkly, we're watching other people freak out, but the film is maddening to sit through because their freak-outs never become ours.
  17. The animation in Lilo & Stitch has an engaging retro-simple vivacity, and it's nice to see a movie for tots make use of Elvis Presley, but the story is witless and oddly defanged.
  18. Cotillard, with stringy long hair and a coal fire of severity in her eyes, has what it takes to play a woman who feels that she's lost everything. But she's forced to flail and mood-swing from scene to scene. In an insult to the disabled, there is never much to her but her hellacious injury.
  19. Instead of a full-bodied comic portrait of the coming-out-party set, Metropolitan offers a thin, cartoon version. Then it uses that cartoonishness to make everyone on-screen seem irresistibly cute.
  20. Time, Kim Ki-Duk's pointed commentary on surfaces and consumer fads -- with particular meaning for plastic-surgery-obsessed South Korea -- is as tautly ''pretty'' and inexpressive as the results for those who compulsively seek cosmetic perfection.
  21. Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
  22. Catherine Breillat, the French director of "Fat Girl", blends victim feminism with the threat of slasher violence in this arid ''deconstruction'' of Bluebeard, the wife killer of legend.
  23. It's not enough for the film to show us a child's corpse wrapped in cardboard; we've got to step back to see Kiarostami himself shooting the sad sight, so that it becomes a Godardian ironic statement.
    • 73 Metascore
    • 50 Critic Score
    One of those wearisome Hong Kong action movies where characters engage in Mexican standoffs not so much to ratchet up excitement or generate tension but rather to look cool for as long as possible.
  24. One of those terminally annoying, depressive-yet-coy Sundance faves in which the tale of a mopey teen misfit unfolds behind a hard candy shell of irony.
  25. Sweet, flaky, and more than a little aimless.
  26. Tony Leung plays Ip Man with his old-movie charisma and reserve, but the film, despite a few splendid fights, is a biohistorical muddle that never finds its center. Maybe that's because — big mistake! — it never gets to Bruce Lee.

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