Entertainment Weekly's Scores

For 6,231 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Red Turtle
Lowest review score: 0 In the Land of Women
Score distribution:
6231 movie reviews
  1. In the end -- an ending of such power and narrative originality (in both book and movie) that those who know it ought never breathe a word to those who don't.
  2. Malick clings to the promise of grace: His vision of the afterlife is a dreamy beach, enhanced by an excellent playlist of fine classical music, and promising the peace that surpasses all understanding. Plus a beautiful sky.
  3. The film simply drags too much in the middle. Somewhere in the film’s 152-minute running time is an amazing 90-minute movie.
  4. Bong Joon-ho's wildly entertaining saga should become the hip, thinking-person's monster movie of choice.
  5. Lopez, for all her Latina-siren voluptuousness, has always projected a contained coolness, and this is the first movie in which it fully works for her.
  6. Brims with life and loveliness even as it meditates on the loss of childhood.
  7. It's doubtful you'll ever see a combat documentary that channels the chaos of war as thoroughly as this one.
  8. At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
  9. Temperamentally in sync with her "Wendy and Lucy" director, Michelle Williams plays one of the toiling wives. And the actress, with her calm center, compresses the entire history of frontier wifeliness into the concentration with which she gathers firewood and loads a musket.
  10. Fruitvale Station is great political filmmaking because it's great filmmaking, period.
  11. One of the most important movies of my life. It’s one of the two films, the other being Robert Altman’s Nashville, that made me want to be a critic. And that’s because Carrie did more than thrill, frighten, and captivate me; it sent a volt charge through my system that rewired my imagination, showing me everything that movies could be.
  12. Tough to watch, but essential.
  13. Circles the heart of noisy, modern Tehran with an informal, documentary-like freedom that is thrilling in its naturalism.
  14. A work of intimate and wrenching humanity.
  15. Superb family drama.
  16. An exhilarating puzzle, one of the grand cinematic eruptions of the year.
  17. It's a beautiful contraption of a movie, a gothic backwoods fable that uses its naive yet murderous hero to walk a fine line between sentimentality and dread.
    • Entertainment Weekly
  18. The movie is enchanting.
  19. In the Shadow of the Moon finds new resonance in the moment when America redefined progress -- but also when it heeded the siren song of a world so desolate it reminded you what a paradise ours truly is.
  20. A doozy of a French gangster pic that, in its beautifully refurbished and pithily resubtitled re-release, turns out to be one of the highlights of the 2005 movie year.
  21. It's a work of art that deserves a space cleared for its angry, nervous beauty.
  22. As long as Revanche focuses on the relationship between Tamara (Irina Potapenko), an indentured Ukrainian prostitute, and Alex (Johannes Krisch), the ex-con gofer and would-be tough guy who wants to help her escape, it's riveting.
  23. A tacit auteur-to-auteur endorsement of the inalienable right to make movies--regardless of talent or sobriety or adult responsibilities--is what gives American Movie its uneasy kick.
  24. The message, if there must be one, of this marvelous, stubbornly personal movie is that there is a spark in every soul.
  25. For some viewers, Moonrise Kingdom may be movie heaven, another bric-a-brac-jammed bauble to place alongside "The Life Aquatic With Steve Zissou" and "The Darjeeling Limited." Personally, though, I wish that Anderson would come out from under the glass, or at least change what he's doing under there.
  26. There’s something uniquely, transcendently beautiful in Campillo’s particular vision and the unhurried way he unfurls it.
  27. Filmmaker Yung Chang finds a sad and beautiful way to glimpse the big picture of dislocation through an exquisitely poised small study.
  28. So suspenseful, sexy, and surprising that it would be a shame to say any more.
  29. Moreau is bewitching -- she simply breathes her role, without a hint of vanity.
  30. 49 Up is a precious document, and must viewing.
  31. A fascinating film -- more docudrama than biopic.
  32. The lightness with which Buñuel was able to insert the little jokes and knife stabs of surrealism he loved so much is, in fact, divine.
  33. It's a merciless and mirthlessly funny antiwar weapon from a filmmaker who has seen battle firsthand and has lived to make art from memories of hell.
  34. The unlikeliest enthralling movie to be released so far this year.
  35. Bold and brilliant.
  36. Ceylan, who also served as cinematographer, frames the affecting, unstudied performances in gorgeously chosen shots and nonevents that sometimes teeter on the edge of comedy before knocking us breathless with their emotional power.
  37. Farhadi’s intrigue doesn’t feel like the stuff of a Hollywood thriller. It’s more realistic, more pedestrian than that – which gives it a real ring of low-key emotional truth.
  38. Darwin's Nightmare points an all-purpose finger at globalization, yet the movie, as raw and vivid as it is, meanders terribly and - bigger problem - never hints at how the disasters it shows us are rooted in Africa's colonial past.
  39. Both the definition of ''my'' and the definition of ''Winnipeg'' become profoundly fluid in this exquisite ''docu-fantasia'' (Maddin's term), an entrancing riffle through the olde curiosity shoppe of the filmmaker's psyche.
  40. Eastwood directs Mystic River with an invigorated grace and gravitas. This is a true American beauty of a movie, a tale of men and their bonds told by and for adults who value the old-fashioned Hollywood-studio notion of narrative.
  41. Damien Chazelle's extraordinary black-and-white retro dream of a feature debut.
  42. Trier's compassion for what it takes to survive, mixed with the love he bestows on Oslo, is rewardingly profound.
  43. The time swivels in Looper evoke some of Inception's fancy temporal tricks... But it's the glimpses of Children of Men-like societal dystopia that give the movie its real weight, and distinguish Johnson's third feature as a marked step forward.
  44. A visually stunning, richly imagined oasis in a sea of candy-colored safety, and one of the first truly original movies of the year so far.
  45. Lives happily ever after because it's such a feisty but good natured embrace of the inner ogre in everyone.
  46. Gripping, highly original.
  47. It's in all the moments where little happens that Reichardt is most amazing, investing even a gas-station pit stop with perfect emotional pitch.
  48. Beautiful, wise, and poker-faced comedy of discombobulation.
  49. Sheridan, however, works with such piercing fervor and intelligence that In the Name of the Father just about transcends its tidy moral design.
  50. The final shot, of the three characters now united, may be the quietest affirmation of life I've ever seen in a movie, and one of the truest.
  51. The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
  52. Some, no doubt, will find Lowery’s playfully surreal experiment (a ghost story told from the POV of the ghost) haunting, lyrical, and moving. Others (ahem, guilty as charged) will just find it maddening, inscrutable, and alienating. Check it out, then take your side in the debate.
  53. Homicide is engrossing, at least for a while, but the truly personal movie it wants to be remains locked up in Mamet’s head.
  54. A good but far from great movie because it portrays truth telling in America as far more imperiled than it is.
    • 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.
  55. Another beautifully chiseled piece of filmmaking - sharp, funny, generous, and moving.
  56. Mesmerizing.
  57. Snowpiercer sucks you into its strange, brave new world so completely, it leaves you with the all-too-rare sensation that you've just witnessed something you've never seen before...and need to see again.
  58. The London universe Leigh creates (employing his trademark improv techniques to unite his ensemble, many of whom make their film debuts) isn't so much a reality as a hope, and an invitation to find joy and grace in everyday moments.
    • 84 Metascore
    • 91 Critic Score
    About as good as a Lassie movie can be.
  59. Under the Shadow is a skilled, chilling feature debut that might follow you around a while after seeing it.
  60. Peele is undeniably a born filmmaker with big ambitions and an even bigger set of balls. He’s made a horror movie whose biggest jolts have nothing to do with blood or bodies, but rather with big ideas.
  61. The enthralling spirit of Dave Chappelle's Block Party, its mood of exuberant democracy, extends to every rap and soul performance in the film.
  62. Creates a flow of symbolism so potent, so transporting in its physicality, that its impact all but transcends its righteous liberal ''meaning.''
  63. Noyce's movie works because the director -- trusts himself, and his audience, to understand that catastrophe isn't always a matter of loud ideology. Rather, it's the result of age-old human weakness. And sometimes it's quiet.
    • 84 Metascore
    • 83 Reviewed by
      Ty Burr
    Ang Lee's film of the Jane Austen novel slavishly follows the gospel according to Merchant Ivory, swooning over characters declaiming modestly while surrounded by topiary.
  64. If this soap opera wasn’t real, you’d never believe it.
  65. It's been 20 years since Tom Hanks put a movie star's face on the AIDS crisis in "Philadelphia." Since then, Hollywood has largely ignored one of the most tragic chapters of the 20th century. Considering that track record, even a movie as imperfect as Dallas Buyers Club is something worth celebrating.
  66. The calm poetry of the cinematography offsets the mess of the politics to stunning effect.
  67. The Cove is the rare documentary specifically designed as a thriller.
  68. If this is the sound of a new generation, then it may be the first generation cautious enough to embrace friendship as mightier than love.
  69. Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
  70. This is the rare movie that gets you to fall in love with characters you don't even like.
  71. A riveting and unexpectedly inspiring essay on the peace that comes from shared physical and mental concentration.
  72. Bridges' guileless performance makes this piquant little indie tale of country music, redemption, and the love of a pretty younger woman such a sad-song charmer.
  73. There’s Glen Powell as Finn, the endearing loquacious smoothie; there’s Juston Street as Jay, the psycho loose-cannon fireballer; and Wyatt (son of Kurt) Russell as Willoughby, the older, sage-like stoner who quotes Carl Sagan after ripping bong hits.
  74. As De Palma shows us, whether he’s got two more films left in him or two dozen — Holy Mackerel — what a career!
  75. There are moments in A Little Princess--particularly Cuaron's Indian play-within-the-play, which is nearly avant-garde in its conception--when you may just want to clap from pleasure. My advice to you is: Go ahead, you're a grown-up. [26 May 26 1995]
    • Entertainment Weekly
  76. The notion of meta has never been diddled more mega than in this giddy Möbius strip of a movie, a contrivance so whizzy and clever that even when it tangles at the end, murked like swampy southwestern Florida itself, the stumble has quotation marks around it.
  77. As visual spectacle, Avatar is indelible, but as a movie it all but evaporates as you watch it.
  78. But Solondz also creates keen portraits of the participating characters in Dawn's daily drama. (The only downside: The drama veers unsteadily toward outlandishness.)
  79. The title embraces the richness of Kechiche's beautiful film, which captures the rhythms of displacement and hardship, the bond of family meals, and even the daily routines of the magnificent women who are part of Slimane's life.
  80. It would be hard to imagine a movie about drugs, depravity, and all-around bad behavior more electrifying than Trainspotting.
  81. With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
  82. Although it shares a bitter interest in slum desperation with last year's Brazilian-underbelly docudrama ''City of God,'' Bus 174 pulls ahead, I think, by not confusing cinematic pizzazz with the content of misery.
  83. The chattering smarty-pants who ran the U.S. government on "The West Wing" are slow talkers compared with the motormouthed and hilariously imperfect power elite in the brainy British comedy In the Loop.
  84. Feels delightfully organic, eccentrically rambling, the found artistic collage of a woman who herself loves to collect.
  85. Fierce, loving, and electric, this movie's got bite as well as bark.
  86. The movie is a rare uncensored postcard from a ruined place, a document at once depressing and hideously beautiful that sketches the real hardships of trampled people -- specifically women -- with authority and compelling simplicity.
  87. With this heartbreaking yet hopeful new documentary about his life’s work, Salgado shares the stories behind these split-second black-and-white moments, giving them even more dimension.
  88. Has the resonance to stand not just as a terrific cartoon but as an emotionally pungent movie.
    • 83 Metascore
    • 91 Critic Score
    Kineticism and suspense, combined with strongly conceived characters....Made Cameron a talent to watch. [13 Jan 1995, p. 67]
    • Entertainment Weekly
  89. As he did in his striking 2005 first feature film, "Man Push Cart," about a Pakistani street vendor in New York, perceptive indie filmmaker Ramin Bahrani looks at what others overlook and finds drama in everyday details.
  90. The writer-director, Peter Sollett, cast the film with kids from his own neighborhood, who give themselves over to the camera with a spirit of improvised play that morphs into vivid, layered acting.
  91. '71
    It’s only March, but this could be 2015’s most invigorating directorial debut.
  92. What makes this chillingly creepy little black-magic folk tale work so beautifully is its evocative sense of time and place.
  93. As an achievement in macabre visual wizardry, Tim Burton's Corpse Bride has to be reckoned some sort of marvel.
  94. A fascinating and in many ways tragic documentary, takes us back to one of the high-water marks of the apes-are-people-too era.
  95. As gorgeously animated as any of his previous movies, Wind has Miyazaki trading in his more fantastical impulses for contemplative, old-fashioned drama and period detail.
  96. This tender documentary considers the mysteries of both art and coping.

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