Entertainment Weekly's Scores

For 5,936 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 3.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Savages
Lowest review score: 0 Saving Silverman
Score distribution:
5936 movie reviews
  1. So Much So Fast (spanning five years) elegantly presents both a critique and a celebration of American optimism.
  2. Like Caesar and company, the films seem to be getting more intelligent and human as they evolve.
  3. A sequel that easily tops its 2011 predecessor.
  4. Awesome documentary.
  5. A domestic tragedy of lacerating vision.
  6. The dramatic power, though, comes entirely from the eloquence of old people, shot in medium close-up, barely moving as they remember things.
  7. Heavier on mood than incident, but its vision of a doomed erotic power war has a lurching authenticity.
  8. Affliction -- a beautiful bummer, a magnificent feel-bad movie -- is American filmmaking of a most rewarding order.
  9. The audience for this grimly disquieting film is, or ought to be, self-selecting.
  10. Her memories lack the quality of revelation -- that is, up until the remarkable final section, in which she describes the last weeks in the bunker with Hitler and Eva Braun.
  11. It’s like a lost John Hughes movie with Irish brogues and cars that just happen to drive on the other side of the road. It’s also, sadly, exactly the kind of sweet little film that too often gets buried in a box office ruled by broader comedies and bloated superhero epics
  12. For the most part it succeeds, gorgeously — though it will probably make anyone over 30 feel either mildly outraged or wildly irrelevant.
  13. Lee's bigger theme isn't God or survival, but the awesome adventure of making the imaginary visible, the adventure of making movies.
  14. The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
  15. It’s as good as screen acting gets.
  16. The powerful thrust of the film comes from its critique of the media.
  17. It's an irony too significant to ignore that the movie, which proselytizes against penning up whales in order to make them do cute tricks for humans, spends much of its time making Willy do cute tricks for humans.
  18. Another must-see marvel of horror, comedy, and impeccable filmmaking by the Korean director Bong Joon-ho.
  19. Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
  20. Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
  21. The yarn is too irresistible: We're fed plenty of sugar in this authorized fairy tale, but are left hungry for beef.
  22. The movie draws us into complicity with someone who may be on the verge of insanity, but only because he's living with the unbearable.
  23. It's all very French, very intricate, and -- this is Rivette's magic -- seemingly as light as air.
  24. Jennifer Baichwal's gorgeous documentary Manufactured Landscapes amplifies the powerful work of Edward Burtynsky, a Canadian artist who specializes in large-scale photographs of terrain transformed by civilization into rivers and tides of industrial ugliness.
  25. Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
  26. Monsters, Inc. has got that swing, that zippity, multilevel awareness of kids'-eye sensibilities and adult-pitched humor.
    • 78 Metascore
    • 91 Critic Score
    Neither the stars' harmonious interplay nor director Anand Tucker's insistent urbanity of camera work can disguise that the cello drama is melodrama.
  27. Among Gosling's many star-making qualities is his nuanced mastery, since "The Believer," of a facial expression of infinitely adaptable, imperturbable, sustained calm that can read as chilling or ardent, hard or soft, as the role demands.
  28. The dean was more of a cartoon in Roth’s book, but Letts lends him a slippery wit that, much like the movie, is surprisingly potent.
  29. Directed by the ingenious documentarian Errol Morris (The Thin Blue Line), A Brief History of Time held out the promise of being an audacious, brain-bending experience. Instead, it's plodding and disappointingly conventional.

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