Entertainment Weekly's Scores

For 7,797 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 2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
7797 movie reviews
  1. Nicholson’s live-wire performance turns what could have been a standard movie malcontent into a martyr.
    • 50 Metascore
    • 100 Critic Score
    Delightfull time-travel comedy.
  2. But it is the steady accretion of hundreds of small moments in this elegant, high-spirited, intensely satisfying production -- the director's third American movie, but the first to approach the dazzle of his Hong Kong stuff -- that, toted up, makes everything right about this des- perately welcome thriller.
  3. 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.
  4. To say that Eastwood, who directed, has done a first-rate job of adaptation fails to do him justice. What he's brought off is closer to alchemy.
    • 83 Metascore
    • 100 Critic Score
    It boasts a more consistent tone, better special effects (such as villains throwing buses around like paper planes), and even an affecting love story.
  5. A work of staggering intelligence and emotional force -- a mosaic of broken dreams.
  6. Around town, Stephen Fry ("Peter's Friends"), as a fluty artiste, dogs Flora with his devotion and declares, "I'm engorgedly in love with you!" That's how I feel about this gem.
  7. There are moments in A Little Princess--particularly Cuaron's Indian play-within-the-play, which is nearly avant-garde in its conception--when you may just want to clap from pleasure. My advice to you is: Go ahead, you're a grown-up. [26 May 26 1995]
    • Entertainment Weekly
  8. Extraordinary new documentary that turns Robert Crumb's twisted life story into a disturbing, exhilarating work of biographical art.
  9. 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.
  10. A graceful, unsentimental, well-made movie.
  11. She's a teller of hilarious gutbucket truths as surely as Lenny Bruce and Richard Pryor ever were. Yet while they were consumed by their demons, Rivers is just the opposite.
  12. This warm, funny, sexy, smart movie erases the boundaries between specialized ''gay content'' and universal ''family content'' with such sneaky authority.
  13. It's cleansing to see the facts laid out with intimacy and rigor, and the film earns the comparison it makes to the squelching of due process for some of today's terror suspects.
  14. With In Between Days, the filmmaker captures feminine melancholy with rare precision. Find this movie.
  15. More than a million people have been displaced in central China in the cause of generating electrical power to meet the needs of the future; Jia's flowing river of a picture washes over a few of them as they adjust to life's currents in the present.
  16. Beautiful, wise, and poker-faced comedy of discombobulation.
  17. The title embraces the richness of Kechiche's beautiful film, which captures the rhythms of displacement and hardship, the bond of family meals, and even the daily routines of the magnificent women who are part of Slimane's life.
  18. Emotionally mesmerizing.
  19. Beautifully led by birdlike Sylvie Testud as an ailing young woman in a wheelchair, every character (pilgrim and helper alike) exhibits a soul. And shaped with confident talent by the Austrian filmmaker, every serenely composed shot matters.
  20. 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.
  21. "Andy Warhol" makes you see that beneath the gargoyle hipster mask, he filled that emptiness with an art of transcendent sincerity.
  22. One of the unshowiest and most true-blooded epics of Americana you're ever likely to see.
  23. Jaoui neatly, gently, firmly slips political commentary into Let It Rain's articulate mayhem.
  24. Toy Story 3 is a salute to the magic of making believe.
  25. It took writer-director Samuel ''Shmulik'' Maoz nearly 30 years to make this disturbing, visceral, personal film.
  26. Hersonski quietly and insistently unravels reality from "reality"; her commitment to archival authenticity is its own tribute to those no longer able to testify.
  27. The power of The Social Network is that Zuckerberg is a weasel with a mission that can never be dismissed. The movie suggests that he may have built his ambivalence about human connection into Facebook's very DNA. That's what makes him a jerk-hero for our time.
  28. This is essential viewing for understanding our world.
  29. Kevin Costner, as Bobby's carpenter brother-in-law, does the finest character acting of his career.
  30. Blue Valentine is lushly touching and gorgeously told.
  31. A true-life adventure that turns into a one-man disaster movie - and the darker it gets, the more enthralling it becomes.
  32. What it does have is an overwhelming bittersweet melancholy at the passing of life from middle age into…well, you could call it late middle age.
  33. A riveting and unexpectedly inspiring essay on the peace that comes from shared physical and mental concentration.
  34. Damien Chazelle's extraordinary black-and-white retro dream of a feature debut.
  35. Tiny Furniture is proof, against steep odds, that there are no small stories, only small storytellers.
  36. Facing a diagnosis of Alzheimer's, the older woman enrolls in a poetry class, desperate to find the words to describe beauty before language fails her. She does even better: She herself becomes a kind of poem about what it means to really see the world.
  37. Loving, Playful, and spectacularly well made, Super 8 is easily the best summer movie of the year - of many years.
  38. Fincher has made The Girl With the Dragon Tattoo into an electrifying movie by turning the audience into addicts of the forbidden, looking for the sick and twisted things we can't see.
  39. Ghost Protocol brims with scenes that are exciting and amazing at the same time; they're brought off with such casual aplomb that they're funny, too.
  40. 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?
  41. Nothing more (or less) than an enchanting light comedy of romantic confusion... It's a movie that understands love because it understands pain.
  42. Another beautifully chiseled piece of filmmaking - sharp, funny, generous, and moving.
  43. Merrily outrageous, over-the-top fun.
  44. A movie masterpiece...is Lars von Trier's ecstatic magnum opus on the themes of depression, cataclysm, and the way the world might end.
  45. In this typically exquisite, nuanced, memory-infused work from master British filmmaker Terence Davies, we believe every minute of the torment of Hester (Rachel Weisz).
  46. Temperamentally in sync with her "Wendy and Lucy" director, Michelle Williams plays one of the toiling wives. And the actress, with her calm center, compresses the entire history of frontier wifeliness into the concentration with which she gathers firewood and loads a musket.
  47. The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
  48. The third starring the totally captivating cool cucumber Daniel Craig as Agent 007 - is both an elegy and a mission statement. It's also a great, long-lasting jolt of pleasure.
  49. The film sweeps us up like a thriller, forcing us to at least ask whether terrorism like the ELF's (which targeted property, never human lives) might ever be justified.
  50. 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.
  51. Into Darkness is a sleek, thrilling epic that's also a triumphantly witty popcorn morality play. It's everything you could want in a Star Trek movie.
  52. This enveloping dream of an epic narrative experiment comes from the great Chilean-born, France-based filmmaker Raúl Ruiz (Time Regained).
  53. The miracle of the movie is the way that director Alfonso Cuarón, using special effects and 3-D with a nearly poetic simplicity and command, places the audience right up there in space along with them.
  54. Farhadi is no mere formalist. His film is a spiritual investigation into the rise of women and the descent of male privilege in Iran, and a look at the toll that has taken. In a movie of flawless acting, it is Moadi - terse, proud, angry, haunted - who shows us that rare thing: a soul in transition.
  55. A marvelous movie.
  56. The setting is somewhere between a post-WWII Brigadoon and the environs of Marcel Carn classic "Children of Paradise," but the story is as timely as this morning's news from Europe.
  57. Rees presents this vivid, hidden culture with raw honesty.
  58. Loosely based on real events, this harrowing, superbly made drama by fast-rising filmmaker Gerardo Naranjo (I'm Gonna Explode) is Mexico's 2012 submission for Best Foreign Language Film - rightfully so.
  59. Argo is never less than wildly entertaining, but a major part of its power is that it so ominously captures the kickoff to the world we're in now.
  60. It's Ejiofor's extraordinary performance that holds 12 Years a Slave together.
  61. The result, in Pina, is...wow.
  62. Oren Moverman's Rampart is a terrific film: tense, shocking, complex, mesmerizing.
    • 93 Metascore
    • 100 Critic Score
    Controversy aside, ”Blimp” splendidly marries a sprawling narrative to stunningly imaginative filmmaking.
  63. Family nuttiness, football madness, romantic obsession, and certifiable mental illness coexist happily in Silver Linings Playbook - a crazy beaut of a comedy that brims with generosity and manages to circumvent predictability at every turn.
  64. Once in a long while, a fresh-from-the-headlines movie - like "All the President's Men" or "United 93" - fuses journalism, procedural high drama, and the oxygenated atmosphere of a thriller into a new version of history written with lightning. Zero Dark Thirty, Kathryn Bigelow's meticulous and electrifying re-creation of the hunt for Osama bin Laden, is that kind of movie.
  65. Footnote is itself a perfect little piece of Talmud, full of text, commentary, and colorful argument.
  66. There’s enough slapstick and silliness to keep kids entertained.... But the film also has a bittersweet streak about the loss of innocence and the fleetingness of childhood.
  67. No one charts the wilds of childhood more precisely than the Dardennes.
  68. Killing them Softly is a lurid and nasty little nihilistic hitman noir, with an ingenuity that sneaks up on you.
  69. The movie is small, local, and idiosyncratic. Then again, it's also a thing of beauty and originality - and for that, sustained huzzahs are in order.
  70. 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.
  71. He (Spurlock) takes Comic-Con seriously. He talks to Kevin Smith, Harry Knowles, and other famous grown-up geeks, but mostly he follows a handful of people whose dream it is to pass through the fan/professional looking glass and carve out a place for themselves in the industry of fantasy.
  72. This is a great film, and a triumph of creativity and courage over repression.
  73. It's also one of the great movies of the year - an ambitious, challenging, and creatively hot-blooded but cool toned project that picks seriously at knotty ideas about American personality, success, rootlessness, master-disciple dynamics, and father-son mutually assured destruction.
    • 100 Metascore
    • 100 Reviewed by
      Ty Burr
    The pace is daringly languid — at times it seems more like a daydream on a sunny park bench than a movie — but you’ll emerge from this wonderland as if from vacation, and you’ll never look at the intersection between life and storytelling in quite the same way.
  74. It's hard to think of the last time a Pixar film made you go ''Wow!'' That's part of why The LEGO Movie is such outrageous and intoxicating fun.
  75. It's the wildest screen comedy in a long time, and also the smartest, the most fearlessly inspired, and the snort-out-loud funniest.
  76. Flight opens with one of the most harrowing in-flight-disaster depictions of all time.
  77. Trier's compassion for what it takes to survive, mixed with the love he bestows on Oslo, is rewardingly profound.
  78. The movie is tough-minded: It zeroes in on Patrick's anger at dating a closeted football star, and it doesn't let Charlie off the hook for his cruelty or self-pity.
  79. A succulently entertaining movie that invites you to splash around in the dreams and follies of folks so rich they're the 1 percent of the 1 percent. It's like a champagne bath laced with arsenic.
    • 77 Metascore
    • 100 Critic Score
    For those who saw it back in 1972, The Harder They Come was a revelation, evocative of a poor but vibrant Jamaican culture few Americans knew about, with a bombshell reggae soundtrack that for all intents introduced the musical genre here.
  80. The movie is grand and immersive. It plugs us into the final months of Lincoln's presidency with a purity that makes us feel transported as though by time machine.
  81. The Chinese artist and activist Ai Weiwei has achieved a prominence that makes him, in effect, the Aleksandr Solzhenitsyn of the Twitter age. He's also the least stuffy of dissidents, and Alison Klayman's stirring, important documentary catches his complex humanity.
  82. This is Robert Redford doing what too many stars should do and don't: taking a chance. And reinventing his art. It's an extraordinary thing to see.
  83. It's a lesson in character to hear directors from David Lynch (digital believer) to Christopher Nolan (celluloid diehard) spout off.
  84. An exhilarating puzzle, one of the grand cinematic eruptions of the year.
  85. One of the year's most original and emotionally profound movies masquerades as the tiny story of a young couple who take a backpacking trip in the Caucasus Mountains the summer before their wedding.
  86. In Amour, these two actors show us what love is, what it really looks like, and what it may, at its most secret moments, demand.
  87. Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
  88. What’s magical about Kane — the sheer transformative thrill of invention — is there in every shot, every performance, every narrative surge.
  89. David Simon, creator of "The Wire," who argues that the targeting of minorities, fused with mandatory sentencing, has turned the war on drugs into ''a holocaust in slow motion.''
  90. The thriller that's exciting, cathartic, and powerfully disturbing. Prisoners is that type of movie. It's rooted in 40 years of Hollywood revenge films, yet it also breaks audacious new ground.
  91. The film, by seasoned cinematographer Dror Moreh, is a feat — of access and of passionate and appropriately unsettling political commentary.
  92. Most of us consider Marilyn Monroe a born star with modest acting skills, but Love, Marilyn deepens the argument that the ditzy, dim-bulb ''Marilyn'' was every inch a performance, and a brilliant one.
  93. Before Midnight confounds expectations in powerful and even haunting ways. It's not just darker than the previous two films. It's bigger, deeper, and more searching. It follows the characters through a tale of embattled love that extends far beyond them.
  94. Room 237 makes perfect sense of "The Shining" because, even more than "The Shining" itself, it places you right inside the logic of how an insane person thinks.
  95. No
    The movie — the third in a trilogy of powerful political dramas from Larraín, including "Tony Manero" and "Post Mortem" — uses period detail, archival footage, and '80s-era technology to create an excellently authentic, bleached, crummy-looking document of a great democratic accomplishment.

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