Entertainment Weekly's Scores

For 6,265 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 Rushmore
Lowest review score: 0 O Brother, Where Art Thou?
Score distribution:
6265 movie reviews
  1. What’s finally missing from Bugsy is the dirty, low-down kick of the crime genre — the quality that marked last year’s The Grifters, and that was there in The Godfather, too. Levinson would like to be bad, but his approach is reverent, ironic, tasteful. He’s made a gangster movie that, for all its lithe pleasures, enunciates too well.
  2. Truer than the John Wayne showpiece and less gritty than the book, this True Grit is just tasty enough to leave movie lovers hungry for a missing spice.
  3. The performances are tender, the script elegant, the cinematography (especially during a virtuoso chase scene in a soccer stadium) artful.
  4. Bigger, Stronger, Faster is a portrait of a culture that claims to hate steroids but may, by now, be too pumped to do much about it.
  5. Although the film does hint at Apfel’s creeping sense of mortality as she donates her clothes for posterity, it never gets deep enough under her skin.
  6. The wild night eventually turns downright rabid, but ­Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career.
  7. Henry: Portrait of a Serial Killer is undeniably disturbing, especially that video scene and when it shows us (however discreetly) a body being hacked up in a bathtub. Yet the critics who’ve hailed it as a landmark are going overboard. Henry is just a superior B-movie with an artsy-clinical title.
  8. The real feast is in the mix of characters, each so finely and unschmaltzily delineated in a script so confident and controlled that even the most passing of participants comes alive.
    • 80 Metascore
    • 100 Critic Score
    A movie with exquisite period detail. [8 Apr 1994]
    • Entertainment Weekly
  9. Thrilling little epic set in the bewildering arena of the English language.
  10. Noyce honors the story best by standing back (and getting Kenneth Branagh, as a supercilious official, to stand back, too): Noyce lets the landscape and the untrained young actresses own the screen, particularly the naturally magnetic Everlyn Sampi.
  11. If Going Clear were a Hollywood thriller, I’d complain that it’s too over-the-top. But this is real life, which is hard to believe. And it’s disturbingly good.
  12. Rapt, heady, and startling: the most profound documentary I've seen this decade.
  13. A richly tender and moving experience.
  14. An inviting international audience-pleaser.
  15. Pete is no kind of fairytale; instead, it’s something far sadder and better and more real.
  16. Loosely based on real events, this harrowing, superbly made drama by fast-rising filmmaker Gerardo Naranjo (I'm Gonna Explode) is Mexico's 2012 submission for Best Foreign Language Film - rightfully so.
  17. 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.
  18. The best thing about this long-awaited feature-length project, a classic Simpsonian interplay of family psychology, social commentary, and brainy visual and verbal jokes tossed off at rat-a-tat speed, is how relaxed it manages to be.
  19. Traces the sport to its Polynesian beginnings, then zooms in on the genesis of 20th- century Southern California surf culture -- the boards, the bikinis, the laid-back cowabunga.
  20. With his crudely drawn stick-figure body and big, round Wiffle-ball head, Cuca is a bundle of jitterbug energy and boundless imagination. Like Riley’s in "Inside Out," his noggin is a wondrous place to spend an hour or two.
  21. Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
  22. There's an adult life force in every frame of this luxuriously paced work, even in the sight of rain and a lady's stocking.
  23. Something marvelous happens as the filmmaker, in his first feature, expertly metes out small scenes of communication between people taught, for generations, to be wary of one another: This Band swings with the rhythms of hope.
  24. This thrilling stop-motion animated adventure is a high point in Selick's career of creating handcrafted wonderlands of beauty blended with deep, disconcerting creepiness.
  25. The movie version, directed with unobtrusive precision by James Foley, stays amazingly true to the play's feisty spirit.
  26. Known for distinctive horror movies like "Cure" and "Pulse," inventive Japanese filmmaker Kiyoshi Kurosawa finds just the right melancholy tone to suit a new and all too familiar kind of horror: economic downsizing.
  27. Lorenzo’s Oil is at once harrowing and riveting. In the age of AIDS, it has telling observations to make about how the institutionalized complacency of the medical establishment actually works. As remarkable a job as Miller and the actors have done, though, the film begins to wear you down. At 2 hours and 15 minutes, it’s far too long, and (more crucially) it has a flat, repetitive structure.
  28. The first great, mind-tickling treat of the new movie year.
  29. Good Night, and Good Luck has a small-scale time-capsule fascination, yet its hermeticism is really a form of moral caution -- a way of keeping the issues neat, the liberal idealism untainted.

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