Entertainment Weekly's Scores

For 6,019 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 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Lebanon
Lowest review score: 0 Annabelle
Score distribution:
6019 movie reviews
  1. Lee's bigger theme isn't God or survival, but the awesome adventure of making the imaginary visible, the adventure of making movies.
  2. 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.
  3. It’s as good as screen acting gets.
  4. The powerful thrust of the film comes from its critique of the media.
  5. 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.
  6. Another must-see marvel of horror, comedy, and impeccable filmmaking by the Korean director Bong Joon-ho.
  7. Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
  8. Captures the Joe Strummer who, in the late 1970s, just about firebombed the rock establishment with his fury.
  9. 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.
  10. The yarn is too irresistible: We're fed plenty of sugar in this authorized fairy tale, but are left hungry for beef.
  11. 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.
  12. It's all very French, very intricate, and -- this is Rivette's magic -- seemingly as light as air.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. It shows us how rare love is — and how we need to grab it and not let it go.
  20. Excels at creating a keen, creepy sense of a civilization stopped dead in its tracks -- vaporized, almost, except for those disemboweled bodies left still undisposed.
  21. If Ingmar Bergman had directed a remake of "All About Eve," it might have looked something like Clouds of Sils Maria. Mysterious and narratively playful, Olivier Assayas’ film features a trio of finely calibrated female performances that examine the psychological toll of being an actress — or working for one.
  22. This stunning movie -- one of the very best of the year -- makes a much read American classic feel new and freshly devastating.
  23. Slow -- sometimes maddeningly, soporifically so.
  24. 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.
  25. Godzilla is still the most awesome of tacky movie monsters.
  26. Control goes past the clichés of punk rock-god gloom to offer a snapshot of alienation that's shockingly humane.
    • 78 Metascore
    • 83 Critic Score
    It’s all about finding the gems, and Long Strange Trip is a treasure chest.
  27. Andrew Wagner has made a lovely comedy of death and rebirth.
  28. Propelled by ferocious sex, nasty violence, and coy interludes of traditional Turkish love songs.
  29. The music's sensational, but you keep waiting for the pledge number to flash up.
  30. Displays a promise it doesn't, in the end, live up to. See it for Swinton's embodiment of unadulterated maternal will.
  31. Jaoui handles her crowd of vivid characters so naturally, and shoots her scenes so unobtrusively, that the diagrammatic cleverness of the plot never overwhelms the intelligence of the observations.
  32. Spitting obscenities at the film's director, Jay Bulger, Baker recalls his days as: the '60s thrash caveman who gave Cream and Blind Faith their transcendent power surge; the pioneer of druggy hotel-room rampages; and the damaged purist who left the pop world for Africa. The movie salutes the rhythms and the wreckage.
  33. Andrew Bujalski's Funny Ha Ha, an ebullient sliver of a movie, follows a group of men and women in their early 20s, and for once the un-dialogue dialogue doesn't come off as an affectation.
  34. The movie has a hushed sensual resonance, but it turns faith into an endurance test.
  35. The movie is rich with class tension, and if Allen nails the moods of the wealthy, he also gets surprising, dynamic performances from Hawkins, Cannavale, and Andrew Dice Clay as the folks who have no money but may have a fuller sense of what life is.
  36. With his follow-up, It Comes at Night, Shults has conjured another master class in anxiety, claustrophobia, and dread. He’s a natural-born filmmaker.
  37. The Golden Army dazzles like something out of "Jason and the Argonauts." To make a comic-book fantasy this derivative yet this dazzling requires more than technique. It takes a director in touch with his inner hellboy.
  38. In Please Give, the sharp-eyed filmmaker sends her vibrant representative out into the world to explore what it means for a woman to be lucky and still feel itchy. The report has the resonant ring of truth.
  39. The script is a steady accretion of small stabs to the heart, propelling the gorgeous performances of Berling, Regnier, and especially the 76-year-old French cinema veteran Bouquet, whose every faint smile is killing.
  40. What matters now, what Lumumba conveys, is the urgent chaos of revolution.
  41. Art history majors may write in with corrections. Meanwhile, I'm declaring that the masterly, big-canvas biographical drama Chi-hwa-seon: Painted Fire is about the Jackson Pollock of 19th-century Korea.
  42. The film takes off from formula elements-it's yet another variation on "Die Hard"-but it manipulates those elements so skillfully, with such a canny mixture of delirium and restraint, that I walked out of the picture with the rare sensation that every gaudy thrill had been earned.
  43. Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  44. What you end up with are portraits of individuals — people who are scared or angry or ambitious — all a part of a story that, from the start, ignored their humanity.
    • 78 Metascore
    • 100 Reviewed by
      Ty Burr
    You may not like the terms Tarantino sets, but you have to admit he succeeds on them.
    • 78 Metascore
    • 83 Critic Score
    The brilliance of Michael Mann's Manhunter is that it appreciates that the true nexus of humanity is our shared closeness.
  45. 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.
  46. An epic aestheticization of World War II, a movie at once bold and baffling, immediate and abstract.
  47. The songs of the South African freedom fighters were a literal call to arms. The music succeeded -- magnificently. The movie, on the other hand, is only so-so.
  48. Deeply rich and strange new romantic comedy.
  49. Carpenter's brutally efficient exercise in tension and release.
  50. Jack Nicholson's dyspeptic retiree in "About Schmidt" would no doubt identify with O'Horten's entertaining pain.
  51. Gini Reticker's simply made, affecting documentary Pray the Devil Back to Hell reveals how these heroic ordinary women prodded the factions to peace and literally brought down Taylor, a leader of sociopathic cruelty.
  52. 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.
  53. Loach’s film isn’t as stridently political as it probably sounds. These are just proud people who want to be treated with respect. There’s one slightly melodramatic turn near the end that felt off, but by then I was already three tissues deep.
  54. Without doing anything so divisive as taking sides, The Counterfeiters pays sympathetic attention to those who play their cards to win even when the rules are terrible, not least because the remarkable Markovics, an Austrian TV actor with a pugnacious anvil of a head, is so riveting as an unsaintly survivor.
  55. Talented filmmaker Susanne Bier (Brothers), armed with an outstanding compositional sense, keeps control over the storms of melodrama that swirl in this rich weepie.
  56. Chaos reigns for much of The Dark Knight Rises, often in big, beautiful, IMAX-size scenes that only Nolan could have conceived. Yet when the apocalyptic dust literally settles on this concluding chapter, the character who lingers longest in memory is an average Gotham City cop named John Blake, wonderfully played with human-scale clarity by Joseph Gordon-Levitt.
  57. 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.
  58. Del Toro builds excitement, dread, and melodrama in equal layers.
  59. The nonprofessional cast of Bahman Ghobadi's remarkable, slow, rough edged feature reveals a simple, piercing grimness and determination framed by the gray, icy landscape of Iranian Kurdistan.
  60. The film defuses all preconceptions about the ''issues'' of transsexual identity to arrive at a place of tremulous human power.
  61. In this offbeat buddy-cop comedy, Don Cheadle, as an FBI agent trying to stop a drug ring, makes the perfect foil.
  62. Ex Machina is beautiful and ominous and features another delicately nuanced performance from Isaac, who’s quickly making a habit of them. But in the end, for all of Garland’s ambition, his reach winds up exceeding his grasp. The film is as synthetic as Ava.
  63. But the story is, still and all, only a pause, deferring an intensely anticipated conclusion. And it's in that exquisite place of action and waiting that this elegantly balanced production emerges as a model adaptation.
  64. Zootopia delivers the genre’s requisite barrage of quick-hit puns and pop culture riffs.
  65. Acompelling, cant free drama about clashing class systems and challenged family relationships that's all the more engrossing for its organic, near documentary style.
  66. You giggle every so often, but you never give yourself over to the characters.
  67. Yearns to be optimistic (juxtaposed with the disaster of Sudan, it certainly has the right to be), yet that only ends up underscoring its ache of sadness.
  68. Writer-director Paul Thomas Anderson crafts a plot of manipulation and chance, in which some zigs and zags are more convincing than others. Still, his feel for scuzz, for people living at the raw extremes of appetite, is palpable.
  69. But the notable accomplishment of actress-writer Kasi Lemmons ("The Silence of the Lambs") in her feature directorial debut is in creating a landscape quite beautiful and entirely her own -- a fluid, feminine, African-American, Southern gothic narrative that covers a tremendous amount of emotional territory with the lightest and most graceful of steps.
  70. The film isn't as fast and funny as it could be, although Nathan Fillion's easily offended constable injects some sorely needed comic relief.
  71. Up and Down captures Prague life with a fervor that's comical but a longing that's serious; no one is easy to pigeonhole.
  72. Between "Moonlight" and the upcoming "Call Me By Your Name," some are calling this the golden age of gay coming-of-age cinema; Beach Rats’ slow pacing and dreamy verité style doesn’t feel made for quite that level of mainstream appeal. But still it gets under the skin, and stays there.
  73. Breillat, the flamethrower who made "Romance" and "Fat Girl," artfully twists period-piece drama to suit her provocative modern notions about sex, gender roles, and power.
  74. A sincere effort to illuminate a singularly dark chapter in history — and a stark reminder of exactly what gets lost when human beings fail to take care of their own.
  75. Superb psychological thriller.
  76. Hard to say who's luckier -- those who have seen the work of Canadian filmmaker Guy Maddin before and know what to expect, or those who haven't and for whom The Saddest Music in the World serves as an eye-popping introduction.
  77. The biggest problem with Lone Star is that colorful Charley Wade isn't the center of the movie -- it's bland Sam Deeds. Cooper isn't a compelling enough movie star to carry us along some of the film's more languid twists and turns.
  78. Some of the effects remain nicely repulsive; Freddy himself comes across as a genuinely nasty piece of work, far removed from his later incarnation.
  79. What's on screen will leave you in a state of wonder. The sweeping cinematography surveys the cracked earth and Davidson's chapped skin with equal intensity, as if to remind us how vulnerable we puny mortals are.
  80. Zodiac never veers from its stoically gripping, police-blotter tone, yet it begins to take on the quality of a dream.
  81. Fred Leuchter is just one deluded figure, but by the end of this great and chilling sick-joke documentary he stands as a living icon of the banality of evil.
  82. The storytelling may be ordinary, but the cast is one of those all-star reunions.
  83. A movie's refusal to judge bad behavior can be a subtle way of trumping the audience -- a passive-aggressive form of one-upmanship.
    • 78 Metascore
    • 91 Reviewed by
      Ty Burr
    From the opening shot of a burnt-orange GTO cruising a high school parking lot to the strains of Aerosmith's ''Sweet Emotion,'' Richard Linklater's film nails mid-'70s adolescence so precisely that you'll need Clearasil by the end credits.
  84. Son Frère is hushed, clinical, grimly paced, and moving.
  85. It took me two viewings to enjoy the landscape of Weerasethakul's mysterious jungle -- so very thick, steamy, and foreign -- without wishing for clearer trail markers.
  86. It's a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions.
  87. Ricardo Darín, wearing a mild-mannered expression of emotional remove, plays the unnamed antihero, obsessed with imagining the perfect robbery. The ''aura'' is the clarity with which he sees -- or imagines he sees -- the world in moments preceding an epileptic attack.
  88. A fizzy, twisty Southern-fried heist flick that’s more enjoyable the less you try to dissect it.
  89. The past-and-present layering is a lot more resonant -- and less sketchy -- than the film's theme of ''betrayal,'' both familial and governmental.
  90. There are many places a visitor may go astray in 2046 -- places where the filmmaker appears to be a bit at loose ends too. Still, Wong's invitation -- ''Let's get lost'' -- is irresistible.
  91. All of Kung Fu Hustle is like that: You don't just watch it, you ride with it, laughing all the way.
  92. Meru the film, then, might be the anti-Everest. There are no expensive special effects, but there is a lot of authentic climbing footage.
  93. The pace of the drama is riveting, as it jumps back through the decades to place the accident in the context of the nuclear arms race.
    • 77 Metascore
    • 75 Critic Score
    But Van Sant, whose vision is otherwise sharp, pushes the connection to Shakespeare's Henry IV too far, having Reeves at one point declaim in rhyming couplets, which severely tests even the most forgiving viewer.
    • Entertainment Weekly
    • 77 Metascore
    • 75 Reviewed by
      Ty Burr
    Reiner's penchant for hip little riffs -- Billy Crystal as a yiddish wizard, etc. -- dilutes primal power in favor of genial fun.

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