Entertainment Weekly's Scores

For 6,020 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 Happiness
Lowest review score: 0 Best Laid Plans
Score distribution:
6020 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. The film is so self-conscious it seems to be dictating your every reaction.
  5. 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.
  6. It's a tease of a satire that never really follows through on its audacious premise.
  7. A historical drama as static as it is stately.
  8. 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.
  9. 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.
  10. Noah Baumbach’s latest wisp of privileged New York whimsy vaporizes on arrival.
  11. Glazed over by its worship of Che Guevara.
  12. More noteworthy for its intentions than its execution.
  13. Land of Mine is essentially bomb porn.
  14. 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.
  15. A disconcertingly jumpy tale of breathtakingly crummy parenting, the windblown movie dares a tolerant audience not to call Child Services.
  16. 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.
  17. A clever filmmaking experiment? Without a doubt. A satisfying one? Not so much.
  18. 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.
  19. 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.
  20. At once spectacular and inert -- a mosaic impersonating a movie; an empty-shell epic.
  21. 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.
  22. A movie in which the easy socio-racial paradoxes have been diagrammed with more care than the relationships
  23. 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.
  24. 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.
  25. 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.
  26. The title isn’t the only thing about the film that has an exclamation point; every scene comes with one – and also seems to be in blaring, buzzing neon. The movie doesn’t know when to stop.
  27. Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.

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