Entertainment Weekly's Scores

For 5,786 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 3.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Afternoon of a Faun: Tanaquil Le Clercq
Lowest review score: 0 An Everlasting Piece
Score distribution:
5786 movie reviews
  1. The archival footage is so breathtaking, the reminiscences so piquant, that even a stranger to dance can't help but be swept up by this peek into such exquisite, now vanished glamour.
  2. Kids may be appropriately terrified, but to this overgrown Potter fan, Voldemort, the Darth Vader of the black arts, was a heck of a lot scarier when you couldn't see him.
  3. A fizzy and delirious high-camp message-movie musical that may just turn out to be the happiest movie of the summer.
  4. As a horror picture, Blair Witch may not be much more than a cheeky game, a novelty with the cool, blurry look of an avant-garde artifact. But as a manifestation of multimedia synergy, it's pretty spooky.
  5. Flirting is a little too weighed down with stage business to soar. But episode for episode, it's one of the ha-ha-funniest movies currently around.
  6. One of the wonders of the holiday season.
  7. Goodnight Mommy, a brilliantly sinister horror film in the recent art-house mold of "The Babadook" and "It Follows," has a premise that cracks like the whip of a devil’s tail.
  8. Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.
  9. Like Eric Bana's menacingly raw breakout in 2000's "Chopper" or Tom Hardy's in 2008's "Bronson," O'Connell bristles with terrifying hair-trigger unpredictability. Watching him, you feel like you're witnessing the arrival of a new movie star.
  10. Allen has fun in his imaginary French capital, turning his star-studded cast loose to interpret their characters as they wish.
  11. The Love Witch is so thin that if it turned sideways it would be invisible. It’s like a Bewitched episode stretched out to two hours. But boy, is it gorgeous to look at.
  12. A fable of money as the root of jealousy, discord, violence, but the film's slippery fascination as sociological exposé is the flip side of its thinness as drama.
  13. The vivid fictional specifics, and the simple loveliness of the artless performances by nonactor Mongolian nomads, attest to the filmmakers' abundant artistry.
  14. As in their previous comedies, Pegg and Frost play men who refuse to stop acting like boys. But these pint-swilling Peter Pans also know how to work the heart and the brain for belly laughs.
  15. Madly original, cheekily political, altogether exciting District 9.
  16. A film of wonderful looseness and innovation. Set free to film fakes, the director is the real thing.
  17. Fantasy leaks into reality.
  18. The Chinese artist and activist Ai Weiwei has achieved a prominence that makes him, in effect, the Aleksandr Solzhenitsyn of the Twitter age. He's also the least stuffy of dissidents, and Alison Klayman's stirring, important documentary catches his complex humanity.
  19. It's a film noir that grows more potent as its secrets are revealed.
  20. Family nuttiness, football madness, romantic obsession, and certifiable mental illness coexist happily in Silver Linings Playbook - a crazy beaut of a comedy that brims with generosity and manages to circumvent predictability at every turn.
  21. What the film leaves unexplained is how this joyous musical outpouring, which predated the revolution, could fare under a system with a pathological distrust of beauty.
  22. In Shoot Me, she wears her spiked cynicism like a cutting form of grace, and everyone around her (including audiences) gets healed by it.
  23. Powerful, passionate, and potentially revolution-inducing documentary.
  24. The ending he’s come up with for The Force Awakens feels so perfect it’s hard to imagine it any other way. In an age when we’ve all become binge watchers, we feel as if it’s become our right to immediately roll right into the next episode, the next sequel. And when The Force Awakens ends, it’s bittersweet because you so badly want to head right into the next chapter.
  25. The stunning images aren't enough for Herzog, though. He wants us to see how these quirky researchers, in their lust to explore, are acting out a drive as primitive as nature: the need to break away from the world in order to find it.
  26. Scott’s sci-fi adventure is the kind of film you leave the theater itching to tell your friends to see. Like Apollo 13 and Gravity, it turns science and problem solving into an edge-of-your-seat experience.
  27. Wendy and Lucy is like "Lassie Come Home" directed by Antonioni. What's piercing about it, and also disturbing, is that Reichardt views the renunciation of society with something close to righteous purity -- as a lefty romantic dream.
  28. Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
  29. A bold, searching, wrenching experience. It may be the most complexly impassioned message movie Hollywood has ever made.
    • Entertainment Weekly
  30. Superb, Oscar-nominated documentary.

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