Entertainment Weekly's Scores

For 5,010 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 4.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Love, Marilyn
Lowest review score: 0 The Order
Score distribution:
5,010 movie reviews
  1. Juliette Binoche is outstanding as a wildly untogether single mother who parks her son with a French-speaking Chinese nanny while she whirls and worries.
  2. Arenas' life zigzags before us in a manner as heady and unpredictable as it must have felt to the man who lived it.
  3. A spectacular windup toy of a thriller -- a contraption made by an artist.
  4. Beautiful, compassionate, articulate domestic drama.
  5. The result is a movie, and Cannes Palme d'Or winner, of riveting power and sadness, a great match of film and filmmaker -- and star, too.
  6. Mark Wahlberg, in a star-making performance, has the kind of electric ingenuousness that John Travolta did in "Saturday Night Fever."
  7. Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
  8. The Savages is terrific -- a movie of uncommon appreciation for the nature and nurture that go into making us who we are, a perfectly calibrated drama both compassionate and unsentimental.
  9. It took writer-director Samuel ''Shmulik'' Maoz nearly 30 years to make this disturbing, visceral, personal film.
  10. An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
  11. Although In the Mood for Love isn't in the mood for action, it dazzles with everything but.
  12. Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
  13. Jafar Panahi's wonderfully funny, outspoken shaggy-dog story, a light counterweight to his sadder 2000 feminist drama "The Circle."
  14. The very opposite of a storybook romance, and also the very model of a great comedy for our values-driven time.
    • 85 Metascore
    • 42 Critic Score
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  15. The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
  16. 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.
  17. A puzzle of a highly rarefied order. At times it's enthrallingly clever and subtle; at others it's borderline incomprehensible.
  18. Half Nelson offers an opportunity to marvel, once again, at the dazzling talent of Ryan Gosling for playing young men as believable as they are psychologically trip-wired.
  19. Mezzogiorno (Love in the Time of Cholera) plays Dalser with the kind of fervent intensity once seen in silent films.
  20. Dizzily rich, witty, and satisfying.
  21. Wiseman reveals the victims of domestic abuse in all of their pity and terror.
  22. Riveting family portrait.
  23. The power of this great movie -- part comedy, part tragedy, part satire, mostly masterpiece -- is in the details.
  24. Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
  25. Mitchell directs and stars in the riotous, loving, and only occasionally pathos-milking film adaptation of his own acclaimed Off Broadway play, with great up-your-ante music and lyrics by Stephen Trask.
  26. Writer-director Jeff Nichols builds his elegantly shot, weather-sensitive horror story in waves of tension that crest as if pulled by tempests.
  27. Fruitvale Station is great political filmmaking because it's great filmmaking, period.
  28. The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
  29. An insider nostalgia trip for graying art punks. It could have been called ''When We Were Cool,'' and it's finally so cool that it freezes you out.

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