Entertainment Weekly's Scores

For 5,199 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 3.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Before Midnight
Lowest review score: 0 Say It Isn't So
Score distribution:
5,199 movie reviews
  1. [A] harrowing documentary.
  2. A delightfully weird, if occasionally too arty, documentary as darting in its structure as a dragonfly's flight.
  3. A sprightly, lovingly researched, rather misty-eyed sports documentary that's steeped in ethnic pride.
  4. 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.
  5. Delectably caustic comedy.
  6. The blessings of salvation have rarely felt so mixed, the parameters of Lolita-hood so elusive - which is exactly Martel's specialty.
  7. They also make joyful music, communicated, both by the singers and their playful, sensitive documentarian, with an authority that quite knocks off socks.
  8. The biggest strike against Rango, though - for both the movie and the hero - is that the lizard is so damn ugly.
  9. Easy Money is not merely an early-career curiosity. It's one of the best underworld films I've seen in years, and Kinnaman gives a fantastic performance in it.
  10. It's memorable when it meditates on the changing face of where we look at art, and how that changes the art itself.
  11. It's a tease of a satire that never really follows through on its audacious premise.
  12. The premise, the structure, and the men-at-twilight conversation in Patrice Leconte's ingratiating drama feel cloyingly predetermined at times, but the sight of Hallyday and Rochefort luxuriating in their contrasting manly personas is a kick.
  13. Rush hits a few potholes, but in the end it reveals the psyches of two men who only feel alive when they're cheating death.
  14. This is a tough-minded story of change that happens in almost imperceptibly tiny increments - as true growth so often does in reality.
  15. Mangold, who also wrote the script, has made a modern-day "Marty", a kitchen-sink drama that doesn't condescend to its characters.
  16. While this sequel lacks the novelty of the first course, it's just as soulful and silly.
  17. This trio is like a looser, funnier version of the family of wrecks in Woody Allen's ''Interiors.''
  18. Zigzags across the conventions of genre, occasionally driving on the shoulders of black humor -- it's a road movie for the way we process suspense today.
  19. That the story is so oldfashioned and domestic and the family so average and secular is, in its way, the wind beneath this Broken Wings.
  20. Wide-ranging and beautifully edited -- it's a vivid evocation of a moment when even the ugliest guitar feedback could be taken as a serious political statement.
  21. Writer-director Jim Sheridan, co-screenwriter Terry George, and Sheridan's favorite actor (and Oscar winner for My Left Foot) Daniel Day-Lewis reunite in The Boxer with a mellower political message that translates, roughly, into ''Can't we all just get along?''
  22. There could be a few more scares and laughs, but it's a blast to be drawn into this urban ecosystem that is, to us Yanks, itself a bit alien.
  23. The title Terror's Advocate is both a statement of fact and a worrisome understatement in a documentary as slippery as its subject.
  24. Sweet Land is a movie of extraordinary tenderness, in which Reaser and Guinee, using a language of looks, make you happy to think about what love once might have been.
  25. With In Between Days, the filmmaker captures feminine melancholy with rare precision. Find this movie.
  26. Win Win, it turns out, isn't a tale of facile victory. It's a movie about how loss makes everyone do things they'll both defend and regret.
  27. Not your average divorce gift: Clean's writer-director Olivier Assayas created the role of recovering rock-world druggie Emily Wang for his ex-wife, art-house/action-pic royalty Maggie Cheung (In the Mood for Love).
  28. So sharp and dryly urbane in its mod-Brit take on the noir, noir, noir, noir world of gambling, dames, and pulp fiction, it makes higher-profile attempts like ''Rounders'' look blah, blah, blah, blah.
  29. Rarely have two actresses been so effortless in their intimacy.
  30. Lasse Hallström calms Irving's typically busy 1985 best-seller with a balm of the Swedish director's typically soothing lyricism.
  31. Leconte (''Ridicule'') gives his heart to the luck of romance, to the dream state visual style of Fellini, and, most lyrically, to the passion of the dagger point swoon.
  32. A historical drama as static as it is stately.
  33. Dazzling psychological cat-and-mouse drama.
  34. 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.
  35. When we finally see the time-lapse images his cameras took, they're awesome and terrifying - a meltdown out of a poetic horror film.
  36. She's an Everywoman you can believe in, showcased in the kind of deft comedy of feminine passion - where deep despair meets Wilson Phillips - that a great many people have been waiting for. Now that Wiig and company have built it, will they come?
  37. For kids, blessedly unironic by nature until wised up by nurture, the movie is just shiny, funny, and filled with songs.
  38. An Inconvenient Truth can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?
  39. We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.
  40. The Beat That My Heart Skipped lacks the screw-loose existential vibrance of "Fingers," yet it teases out a romantic underside to the original I never quite knew was there.
  41. As riveting as its title.
  42. Intense, autobiographically based drama.
  43. This is a sensual, psychologically modern costume drama influenced by both "The Godfather" and gals' guides to empowerment.
  44. The storytelling structure is far more interesting than the story itself. And the elegiac pictures of boats and water are, dismayingly, most engrossing of all.
  45. Has a rowdy, jumpin'-jive vivacity. It's not quite as emotionally rounded as ''Shrek'' was... but it's got heart and delirium in equal doses, as well as a firecracker rhythm all its own.
  46. The movie, quite simply, goes to sleep whenever Zatoichi isn't fighting. When he is, it's a pulp dazzler.
  47. "Old Boy's" vivid star Choi Min-sik plays a terrible schoolteacher -- yet another damned soul in Park's inflammatory, inimitable movie inventory of hell on earth.
  48. Enchanted is festooned with extravagant set pieces -- there's a great number in praise of romantic gestures, and a ballroom scene to make even grown-up girls swoon.
  49. Fans will gorge on this deft, year-by-year portrait of the ultimate enduring cult band.
  50. Nader became famous as a "consumer advocate," but as the thrilling first hour of An Unreasonable Man makes clear, that humdrum bureaucratic term didn't do justice to his courage, his vision.
  51. While the first hour is evocative and suspenseful, the second doesn’t quite muster the depths of paranoia and doom you’re led to expect.
  52. It's a David-and-Goliath tale, full of anger and disturbing accusation, but it's also inspiring.
  53. What the characters in The Witnesses -- and we, the audience -- pay testimony to in André Téchiné's urgent, compassionate, and ultimately optimistic French drama are the toll the epidemic has rung, and the responsibility of the living to choose life.
  54. There have, over the years, been a lot of terrific undersea documentaries, but if you want to know what distinguishes this new one, it comes down to a single word: technology.
  55. Holbrook makes Abner a shining-eyed, noble crank.
  56. The intense interviews and damning statistics (20 percent of all female personnel have experienced sexual assault) do the work of whipping up outrage.
  57. Glazed over by its worship of Che Guevara.
  58. A jolting, artfully made drama set in and around a suburban playground somewhere between "American Beauty" and "In the Bedroom" on America's psychic highway.
  59. Catching Fire is smoothly exciting but a bit of a tease.
  60. Despite a few too-cute moments (and many fantastically graphic vagina jokes), the movie is both smarter and more sympathetic than that glib shorthand.
  61. The feverishly paced film is hell-bent on making the audience feel like they just snorted a Belushian mountain of blow. You can practically feel your teeth grinding to dust. As with any high, though, it also doesn't know when to stop.
  62. More noteworthy for its intentions than its execution.
  63. A suspenseful and delightfully creepy French drama.
  64. For sheer dramatic wallop outpowers virtually every fiction feature I've seen this year.
  65. But Levinson's passion to explain how he got from there to ''Sphere'' gives Liberty Heights its own farkatke Hollywood integrity.
  66. The comic moments in this ingratiating bit of malarkey from director Peter Cattaneo and screenwriter Simon Beaufoy (both TV trained, both making their feature debuts) are winning.
  67. A little too programmed in its despair, but it coasts along on the jagged music of the modern lothario's song.
  68. A candy store for film buffs.
  69. The icy whimsy of Kitchen Stories is certainly well sustained, but you don't laugh at the movie so much as wait for the joke to thaw.
  70. Slow going, but I mean it as no insult when I say that it bored me, in the end, to tears.
  71. While the young people chatter about life and literature with sometimes overbearing self-satisfaction, the astute filmmaker observes their pretentious gum-flapping with a mixture of amusement, compassion, and wised-up rue.
  72. Side Effects is mostly a good Saturday-night movie, but by the end, it's caused a few unintended side effects of its own: a bit of head-scratching, and a giggle or two of disbelief.
  73. What sustains the film is the performers' belief in their shaggy-dog selves, which is more than just talent - it's faith.
  74. The final affirmation of this romance is really an affirmation of Baumbach's talent: that a young filmmaker fixated on the solipsistic rituals of guyhood understands the hearts of women, too.
  75. Did granny intend this stuff for strangers? We'll never know. File this ''therapeutic'' movie, well made and creepy, on the dysfunction-as-art shelf next to "Capturing the Friedmans."
  76. The beauty of Baadasssss! is the way Mario Van Peebles salutes his father's truth by coaxing it into legend.
  77. The documentary offers a compelling overview of the case, but Bar-Lev spends too much time painting Paterno as a victim and scapegoat. That advocacy doesn't sit well.
  78. This lone, fallen Nazi's obsessive distance from his actions is enough to give The Specialist a lingering chill.
  79. Hugh Grant has grown up, holding on to his lightness and witty cynicism but losing the stuttering sherry-club mannerisms that were once his signature. In doing so, he has blossomed into the rare actor who can play a silver-tongued sleaze with a hidden inner decency.
  80. Bean's commitment to serious theological examination is exciting, Gosling's performance is riveting, and this fiery and imperfect feature shines as a demonstration of independent filmmaking at its most uncompromising.
  81. Realer and more consequential than much being packaged for TV and movies these days as ''reality,'' the fictional In This World unfolds with the deceptive dispassion of a documentary, but builds with a sure sense of dramatic epic.
  82. A gripping documentary that uses voluminous period evidence — unedited news footage, tape recordings of SLA leader Cinque's rants — to brilliantly reconstruct the entire freak event.
  83. Charms with its amalgam of absurdity, optimism, humor, and avuncular regard for the million small daily chores, rituals, suspicions, and courtesies of dwellers on even the sparsest spots on earth.
  84. Has a bright, dishy spirit.
  85. The agonizing moments that convey what it's like for Bone to feel helpless and afraid of Daddy Glen even when he's not torturing her are where the art is. The pornographic violence is artifice. [13 Dec 1996]
    • Entertainment Weekly
  86. More connect-the-dots detective thriller than traditional doc, John Maloof and Charlie Siskel’s revelatory riddle of a film unmasks a brilliant photographer who hid in plain sight for decades working as an eccentric French nanny.
  87. With the exception of Waleed F. Zuaiter, who does a remarkable good-cop act as an Israeli agent, the cast is composed of first-time actors who bring realism to a tragic story. It manages to punch you in the gut and break your heart at the same time.
  88. At times, Big Hero 6 gets a little too noisy for its own good, but that never manages to drown out its many quieter charms.
  89. After all of its sadness, a tender redemptive glow.
  90. Genre-hoppers like Steven Soderbergh ought to love this neat triple doozy. [Note: From a review of the entire trilogy.]
  91. Yet S21, unlike many documentaries about the Nazi era, isn't a sickening panorama of brutality. Shot on video, it's quiet and intimate.
  92. A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
  93. If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
  94. Stone takes his characters right over the top, rubbing our noses in our own lust for excess, and some viewers are bound to say that he's gone too far. Yet this may be one case where too far is just far enough-where a gifted filmmaker has transformed his own attraction to violence into an art of depraved catharsis.
  95. The Cuban escapade, designed to provoke, backfires when he loses focus by including Cuban firefighters in an homage to 9/11 first responders.
  96. In Monster Theron undergoes one of the most startling transformations in the history of movies.
  97. A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  98. At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
  99. 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.
  100. It's a shockingly vulnerable performance (Hader), one of the best I've seen all year.

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