Entertainment Weekly's Scores

For 5,888 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 3.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Killing Them Softly
Lowest review score: 0 My Date with Drew
Score distribution:
5888 movie reviews
    • 85 Metascore
    • 42 Critic Score
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
    • 84 Metascore
    • 58 Reviewed by
      Ty Burr
    A sumptuous two-and-a-quarter-hour emotional epic built on one lachrymose climax after another. What little plot there is exists only to set up the next Big Cry.
  1. Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
  2. It is also glib, shallow, and monotonous, a movie that spends so much time sanctifying its hero that, despite his "innocence," he ends up seeming about as vulnerable as Superman.
  3. If random arty blood thrills are your cup of fear, perhaps you'll enjoy Let the Right One In, a Swedish head-scratcher that has a few creepy images but very little holding them together.
  4. Regrettably, the film's story is so busy yet flat that the effect isn't magical -- it's more like watching the tale of some very enchanted wallpaper.
  5. It isn’t until the wonderful Gladstone comes along with her aching tomboy heartache and sad seeking eyes that the film finally burrows below the surface and finally hits a dramatic nerve. Unfortunately, by then, it’s too little too late.
    • 81 Metascore
    • 58 Critic Score
    Penn's film oozes an intellectual's fashionable contempt for the characters.
  6. Anderson's film is something to be experienced, like a psychedelic drug trip where the journey trumps the destination. Unfortunately, his journey just didn't do it for me.
  7. Once again, the shaky handheld camerawork in the battle scenes don’t portray chaos so much as a sense that the cinematographer was being attacked by desert bees
  8. A so-so meditation on historical amnesia. It’s also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.
  9. If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
  10. The Peoples Temple congregation was sizably African-American. But when it comes to how those followers turned into a zombie Kool-Aid death cult, Jonestown: The Life and Death of Peoples Temple leaves you with more questions than you went in with.
  11. A strange history lesson that leaves us more overlectured than properly overwhelmed.
  12. The stab at sublimity-by-proxy doesn't take.
  13. The film is almost deliriously stylish, which helps mask the silliness. But the bellowing music, by John Adams, is infuriatingly intrusive -- which undoes the visual good.
  14. You'd have to be a stone not to be affected by My Flesh and Blood, but the director, Jonathan Karsh, merges compassion with voyeurism until you can't tell the difference.
  15. Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  16. Jammed with banner-ready political rhetoric, and the relentlessness of the lectures is wearying. The plot, on the other hand, is a standard contraption built on enduring urban anxieties and involving a nasty hotel-room trade.
  17. As a film, Under the Skin is hauntingly freaky and ultimately frustrating. But as a movie star's gamble to be seen as more than just a moneymaking member of the Marvel universe, it's a home run.
  18. Everything is aces about this lineup's pedigree. But Devil never lets loose. It's a jazzy composition about sex, sleuthing, corruption, race, and cheap liquor that's a half step out of tune.
  19. Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
  20. Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
  21. Director Joe Angio presents the group's music with the contagious enthusiasm of a diehard, but exuberance is no substitute for storytelling, and Revenge of the Mekons is in desperate need of a narrative path.
  22. 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.
  23. Lacks confidence in its own much bigger, potentially fascinating story -- an American tale of pageantry and history.
  24. An unabashed descendant of "Bring Me the Head." This time, though, it's an entire corpse that gets hauled through the desert, and that's not all that's being toted. So is a hefty parcel of racial correctness.
  25. The movie takes the form of a lackluster women's-prison picture.
  26. Unfortunately, most of the two-hour documentary is devoted to annotating what the Nazis stole for both their state and personal collections. The movie doesn't dramatize this crime -- it catalogs it. With deadening monotony.
  27. To see this much austere vérité atmosphere propping up this much schlock romanticism is like biting into a blue-cheese canapé that turns out to be a fluffernutter.
  28. For two and a half hours, Edel lays out the bombings, kidnappings, and murders committed by the Baader-Meinhof group, which mutated into the RAF. He catches the violently delusional self-righteousness of their antifascist fervor, but as individuals these cultish guerrillas remain opaque.
  29. The film is so self-conscious it seems to be dictating your every reaction.
  30. It sounds churlish to argue that a movie can have too much integrity for its own good, but that's exactly the problem with La Ciénaga.
  31. It's a tease of a satire that never really follows through on its audacious premise.
  32. A historical drama as static as it is stately.
  33. 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.
  34. Land of Mine is essentially bomb porn.
  35. Despite fine intentions and four lovely performances from the female leads, Our Little Sister is simply too light to be felt. It floats away in the wind—and the memory — like a paper umbrella.
  36. Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  37. Glazed over by its worship of Che Guevara.
  38. More noteworthy for its intentions than its execution.
  39. 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.
  40. A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  41. 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.
  42. A clever filmmaking experiment? Without a doubt. A satisfying one? Not so much.
  43. As a fantasy, Orlando has been spun out of a rather glib idea: that the mere assertion of Androgyny As Destiny is automatically a brave, emotionally triumphant stance for our time. The truth is, when androgyny is shrouded in this much deadening ”art,” it becomes little more than a haughty exercise in academic chic.
  44. 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.
  45. At once spectacular and inert -- a mosaic impersonating a movie; an empty-shell epic.
  46. 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.
  47. A movie in which the easy socio-racial paradoxes have been diagrammed with more care than the relationships
  48. 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.
  49. 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.
  50. 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.
  51. Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
  52. 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.
  53. 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.
  54. 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.
    • 73 Metascore
    • 58 Critic Score
    Nyong’o’s gravitas is undercut by a script teeming with wooden platitudes, special lessons learned, and the overbaked dialogue of a Joan Crawford melodrama.
  55. 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.
  56. Pictorial but oddly muffled three-hour saga of romance and capitalism, not necessarily in that order.
  57. 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.
  58. 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.
  59. 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.
  60. Sweet, flaky, and more than a little aimless.
  61. 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.
  62. Les Liaisons Dangereuses is such an elaborate and satisfying structure of deceit and salaciousness that every attempt I have seen to adapt it on film -- "Dangerous Liaisons," "Cruel Intentions," even the trashy 1959 Roger Vadim version -- has resulted in an entertainment of agreeable nasty elegance. Until now.
  63. A thriller that wheezes along on bits and pieces of ''character.''
  64. The real soullessness here is built into the production, a polished adaptation of Hong Kong-style filmmaking that, with its cast of depressive characters, allows for little Hong Kong-style joy.
  65. Clint Eastwood's American Sniper is a film that evokes complicated emotions. A month after seeing it, you might still be wrestling with whether it's powerful, profound, or propaganda.
  66. Tthis isn't just any setup, is it: It's suds being sold as ethno-sensitive reality, a case of coveting thy neighbor's fiesta.
  67. The goal of any manifesto is making its aims as clear as possible. But it’s never clear what this Manifesto is aiming for besides a cheeky roll call of intellectual camps. Ph.D.s in art theory will chuckle knowingly as everyone else eyes the exit.
  68. The movie is so busy turning the Sioux characters into photogenic saints that it never quite allows them the complications of human beings.
  69. The movie is so prefab, so plastically aware of being ''corny,'' ''romantic,'' and ''old-fashioned,'' that it feels programmed to make you fall in love with it.
  70. Any random episode of Law & Order would be more sophisticated than this heavy-handed, moralistic Southern-lawyer corn pone, directed by Francis Ford Coppola.
  71. Inland Empire is so locked up in David Lynch's brain that it never burrows its way into ours.
  72. The biggest surprise in Shame is how distanced, passionless, and merely skin-deep the director's attention is - how little he cares about the subject of his own movie.
  73. 12
    Has none of the crisp passion or suspense of the 1957 Sidney Lumet version; it's bloated, heavy-handed, and lugubrious.
    • 71 Metascore
    • 50 Critic Score
    Alan Paton's seminal novel of apartheid in 1940s South Africa receives a sanitized and overly sentimental treatment, trivializing the book's relentless power.
  74. In Land of the Dead there are virtually no good parts. The movie is listless and uninspired.
  75. The result, alas, is totally bolloxed, as a Brit might say, by execution.
  76. Parents can trust that none of their wee ones will ask for a stuffed water horse for Christmas. The star of this Scottish fable, about the mythical Loch Ness monster, looks like a raw chicken breast with teeth when he hatches.
  77. The energy is sapped by clinging condescension in the guise of compassionate liberalism.
  78. Only pretends to care about good people who sometimes do bad things. In fact, it hasn't got time for the pain.
  79. With Intolerable Cruelty, though, something scares me: I cannot detect a heartbeat of feeling, no matter how close I press a stethoscope against the star machinery of George Clooney and Catherine Zeta-Jones.
  80. It's too bad that the film was directed by the Norwegian minimalist Bent Hamer (Kitchen Stories), who makes a fetish of building scenes around silence.
  81. Lee's performance is by far the best thing about The Crow. Unfortunately, he's just good enough to make you wish that the movie had had a whisper of storytelling invention to go along with its showy visual design.
  82. Skillfully made, yet the film would have been better if it had tapped a bit of that Walken madness.
    • 71 Metascore
    • 42 Critic Score
    The film, which sparked enough controversy that French theaters refused to pick it up, spends too much time bogged down in its more decadent scenes to spark any new insights.
  83. Technical elegance and fine performances mask the shallowness of a story as simpleminded as the '50s TV to which it condescends; certainly it's got none of the depth, poignance, and brilliance of "The Truman Show," the recent TV-is-stifling drama that immediately comes to mind.
  84. Gentle Bingenheimer, who retreats from being ''figured out,'' is dubiously honored with unenlightened commentary by people hell-bent on doing so.
  85. Elegant yet surprisingly remote royal-court drama.
  86. Little Man Tate keeps introducing characters and narrative lines that seem promising, but it doesn’t sustain them. The movie feels like three Afterschool Specials welded together.
  87. As it moves from the drizzly to the overly stormy, Rain freights a young girl's self-destructive eagerness to lose her virginity with so much danger and even horror that it's as if the events were trying to make up for the film's previous lack of drama.
  88. The aliens aren't particularly scary or funny, and so the joke of watching Smith and Jones crack wise in their faces wears thin.
  89. The events may be accurate, but Mesrine is so episodic that it's slightly maddening to watch.
  90. This makes for a friendly romp, and also a dull one.

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