Entertainment Weekly's Scores

For 5,890 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 Two Girls and a Guy
Lowest review score: 0 The First $20 Million Is Always the Hardest
Score distribution:
5890 movie reviews
  1. It took writer-director Samuel ''Shmulik'' Maoz nearly 30 years to make this disturbing, visceral, personal film.
  2. Tangerine is touching for its non-condescending stance toward working girls and the spirit of the sidewalk.
  3. An exhilarating hall-of-mirrors look at what happens when global art fame turns anonymous, artists become objects, fans turn into artists, and the whole what's-sincere-and-what's-a-sham spectacle is more fun than art was ever supposed to be.
  4. Although In the Mood for Love isn't in the mood for action, it dazzles with everything but.
  5. Just about the only documentary that works like a novel, inviting you to read between the lines of Baker's personality until you touch the secret sadness at the heart of his beauty.
  6. Jafar Panahi's wonderfully funny, outspoken shaggy-dog story, a light counterweight to his sadder 2000 feminist drama "The Circle."
  7. The very opposite of a storybook romance, and also the very model of a great comedy for our values-driven time.
    • 85 Metascore
    • 42 Critic Score
    Lacks grace, coherence, and a surface vivid enough to make it an alarm that many will hear.
  8. The very title The Departed suggests a James Joycean take on Irish-Catholic sentiment when, of course, this story is anything but: It's Scorsesean, and he's in full bloom.
  9. The triumph of ''Spring, Summer'' is that even those of us who don't happen to be Buddhists can catch a glimpse of ourselves in the spinning wheel of hope, destruction, suffering, and bliss.
  10. Afterward, you'll want to listen to the Beatles sing ''She's Leaving Home.'' It might be a girl like Jenny the lads had in mind.
  11. A puzzle of a highly rarefied order. At times it's enthrallingly clever and subtle; at others it's borderline incomprehensible.
  12. Half Nelson offers an opportunity to marvel, once again, at the dazzling talent of Ryan Gosling for playing young men as believable as they are psychologically trip-wired.
  13. Mezzogiorno (Love in the Time of Cholera) plays Dalser with the kind of fervent intensity once seen in silent films.
  14. Dizzily rich, witty, and satisfying.
  15. Wiseman reveals the victims of domestic abuse in all of their pity and terror.
  16. Riveting family portrait.
  17. The power of this great movie -- part comedy, part tragedy, part satire, mostly masterpiece -- is in the details.
  18. I wish 'Hero's emotional heat rose more intensely -- more recklessly. There's something grand but distant and almost fetishistic about the operatic solemnity with which Zhang approaches the Rashomonic story of assassins attempting to kill a king.
  19. Young, wizened yet valiant, his voice still braying at the moon, delivers these songs of aging and loss as if caught in a beautiful dream of what lies waiting for him on the other side.
  20. Mitchell directs and stars in the riotous, loving, and only occasionally pathos-milking film adaptation of his own acclaimed Off Broadway play, with great up-your-ante music and lyrics by Stephen Trask.
  21. Writer-director Jeff Nichols builds his elegantly shot, weather-sensitive horror story in waves of tension that crest as if pulled by tempests.
  22. The Past, is hugely ambitious — it's Farhadi seizing his moment — yet it's also a wrenchingly intimate tale of lives torn asunder by forces within and without them.
  23. An insider nostalgia trip for graying art punks. It could have been called ''When We Were Cool,'' and it's finally so cool that it freezes you out.
  24. At times, The Iron Giant is more serene than it needs to be, but it's a lovely and touching daydream.
  25. 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.
  26. 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.
  27. Bong Joon-ho's wildly entertaining saga should become the hip, thinking-person's monster movie of choice.
  28. 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.
  29. It's doubtful you'll ever see a combat documentary that channels the chaos of war as thoroughly as this one.

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