Entertainment Weekly's Scores

For 5,962 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 We Don't Live Here Anymore
Lowest review score: 0 Light It Up
Score distribution:
5962 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. 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.
  2. Maddin chops it up into a feature-length antique-bloodsucker video, and the result takes hold neither as dance nor as silent horror dream.
  3. 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.
  4. 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.
  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.
  6. 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.
    • 81 Metascore
    • 58 Critic Score
    Penn's film oozes an intellectual's fashionable contempt for the characters.
  7. 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.
  8. 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
  9. 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.
  10. 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.
  11. 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.
  12. A strange history lesson that leaves us more overlectured than properly overwhelmed.
  13. The stab at sublimity-by-proxy doesn't take.
  14. 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.
  15. 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.
  16. Designed to be "inspirational," yet it shortchanges the complex reality of the lives it makes such a show of saving.
  17. 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.
  18. 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.
  19. 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.
  20. There’s a provocative idea at the center of Oldroyd’s beautifully photographed film — repression exploding into madness and violence. But as the body count rises, Lady Macbeth loses its secret weapon: sympathy.
  21. Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
  22. 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.
  23. 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.
  24. 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.
  25. Lacks confidence in its own much bigger, potentially fascinating story -- an American tale of pageantry and history.
  26. 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.
  27. The movie takes the form of a lackluster women's-prison picture.

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