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 2.2 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. Up in the Air is light and dark, hilarious and tragic, romantic and real. It's everything that Hollywood has forgotten how to do; we're blessed that Jason Reitman has remembered
  2. The result is an intense, action-driven war pic, a muscular, efficient standout that simultaneously conveys the feeling of combat from within as well as what it looks like on the ground.
  3. With its virtuoso tomfoolery, Fantastic Mr. Fox is like a homegrown Wallace and Gromit caper. To Wes Anderson: More, please!
  4. It's a potent and moving experience, because by the end you feel you've witnessed nothing less than the birth of a soul.
  5. Madly original, cheekily political, altogether exciting District 9.
  6. What matters is that Tiana triumphs as both a girl and a frog, that dreams are fulfilled, wrongs are righted, love prevails, and music unites not only a princess and a frog but also kids and grown-ups.
  7. Nothing good happens in 4 Months, 3 Weeks and 2 Days, the riveting, horrifying chronicle of an illegal abortion performed in 1987 when Ceauescu's dictatorial hand still gripped Romania's throat. And yet no lover of greatness in filmmaking will want to look away from one of the very best movies of 2007.
  8. This is one of the year's best. To paraphrase the Wild Thing named KW, I could eat it up, I love it so.
  9. Way ahead of its time 30 years ago, and just as stunning today, Killer of Sheep is one of those marvels of original moviemaking that keeps hope of artistic independence alive.
  10. In The Beaches of Agnès, you get addicted to watching Agnès Varda watch the world.
  11. Like any great myth, Pan's Labyrinth encodes its messages through displays of magic. And like any good fairy tale, it is also embroidered with threads of death and loss.
  12. It's a feat of star acting, and it helps make (500) Days not just bitter or sweet but everything in between.
  13. Up
    A lovely, thoughtful, and yes, uplifting adventure.
  14. Don't tell Walt Disney, but Hayao Miyazaki really holds the keys to the magic kingdom.
  15. It's an intoxicating feeling when a movie excites and enlivens us like this -- and there's a particular giddiness to be had in thinking about what movies can (but don't often) do for one's soul after imbibing such a fine vintage.
  16. For bleakness, the movie can't be beat -- nor for brilliance.
  17. Yet another outstanding little movie in the exciting Romanian New Wave.
  18. In a class by itself.
  19. Brims with life and loveliness even as it meditates on the loss of childhood.
  20. Raimi has made the most crazy, fun, and terrifying horror movie in years.
  21. Naples-born Servillo is a national star, famed as a theater, opera, and film director as well as an actor. And he's got the face of a mensch (or a Madoff) -- which makes his embodiment of criminal banality all the more identifiable, as well as horrifying.
  22. Ferguson spotlights two massive mistakes: the looting that was allowed to continue, destroying Iraqi infrastructure and morale; and--far more revelatory -- the apocalyptically stupid decision to disband the Iraqi army, sending half a million angry soldiers into the streets.
  23. Yagira's performance is so extraordinary, it won him the best actor prize at the 2004 Cannes film festival.
  24. This thrilling stop-motion animated adventure is a high point in Selick's career of creating handcrafted wonderlands of beauty blended with deep, disconcerting creepiness.
  25. Like a great novel from a more expansive bygone age, The Best of Youth is full of big thoughts; like a great soap opera, it's also full of sharp plot turns, vibrant characters, and great talk. It is, in short, the best of cinema.
  26. It whisks you to another world, then makes it every inch our own.
  27. The stunning, must-see drama Crash is proof that words have not lost the ability to shock in our anesthetized society.
  28. Along the way, Black Dynamite blends satire, nostalgia, and cinema deconstruction into a one-of-a-kind comedy high.
  29. Food, Inc. is hard to shake, because days after you've seen it, you may find yourself eating something -- a cookie, a piece of poultry, cereal out of the box, a perfectly round waxen tomato -- and you'll realize that you have virtually no idea what it actually is.
  30. It's a work of art that deserves a space cleared for its angry, nervous beauty.
  31. Waltz With Bashir has transcended the definitions of ''cartoon'' or ''war documentary'' to be classified as its own brilliant invention.
  32. Keira Knightley, in a witty, vibrant, altogether superb performance, plays Lizzie's sparky, questing nature as a matter of the deepest personal sacrifice.
  33. The gorgeous music includes Ralph Vaughan Williams' wafting tone poem ''The Lark Ascending'' -- apt in describing an artist who might well be part bird.
  34. A triumph -- Demme's finest work since "The Silence of the Lambs," and a movie that tingles with life.
  35. Until Once, I'm not sure that I'd ever seen a small-scale, nonstylized, kitchen-sink drama in which the songs take on the majesty and devotion of a musical dream.
  36. If you see only one comic love story from Kazakhstan this year, choose this prize-winning honey.
  37. Brokeback Mountain is that rare thing, a big Hollywood weeper with a beautiful ache at its center. It's a modern-age Western that turns into a quietly revolutionary love story.
  38. The movie sparkles with witty self-awareness.
  39. The very opposite of a storybook romance, and also the very model of a great comedy for our values-driven time.
  40. Clint Eastwood's profound, magisterial, and gripping companion piece to his ambitious meditation on wartime image and reality, "Flags of Our Fathers."
  41. With the pitiless, devastating Fat Girl, Catherine Breillat puts men and women, boys and girls on notice: When fantasy, hypocrisy, and manipulation mix in a wet, sandy place, you dive into sex at your own risk.
  42. The filmmaking is as strong as the subject matter, with an elegant structure.
  43. The conclusion of Peter Jackson's masterwork is passionate and literate, detailed and expansive, and it's conceived with a risk-taking flair for old-fashioned movie magic at its most precious.
  44. The Wrestler is like "Rocky" made by the Scorsese of "Mean Streets." It's the rare movie fairy tale that's also a bravura work of art.
  45. Zodiac never veers from its stoically gripping, police-blotter tone, yet it begins to take on the quality of a dream.
  46. The Savages is terrific -- a movie of uncommon appreciation for the nature and nurture that go into making us who we are, a perfectly calibrated drama both compassionate and unsentimental.
  47. By far the best Judd Apatow comedy that Judd Apatow had nothing at all to do with.
  48. It's a hilarious, and unexpectedly moving, documentary about the greatest metal band you've probably never heard of.
  49. Relaunches the series by doing something I wouldn't have thought possible: It turns Bond into a human being again -- a gruffly charming yet volatile chap who may be the swank king stud of the Western world, but who still has room for rage, fear, vulnerability, love.
  50. David Cronenberg's brilliant movie -- without a doubt one of the very best of the year.
  51. The Girlfriend Experience is one of Steven Soderbergh's bite-size, semi-improvised, shot-on-DV doodles (like Bubble or Full Frontal), and it's the best one he's made.
  52. Nimble, engrossing, and journalistically eye-opening, a movie that pulls into focus 30 years of porn in America. It also pulls no punches.
  53. Miller's theme is innocence, the loss of it, and the reclamation of equanimity in the face of that loss, and the music she makes is haunting.
  54. The wry filmmaker has created an urbane society of family and friends as ridiculously pretentious and hypocritical as they are cultured, accomplished, and posh.
  55. It's been a while since a movie made the game of love this winning.
  56. A deeply straightforward yet beautifully crafted documentary.
  57. Fast, convulsive, and densely exciting new British gangster thriller.
  58. Lords of Dogtown is a docudrama, rare in its grit and authenticity, that also strives for the mythical youth-rebel excitement of something like "8 Mile."
  59. A confidently original, engrossing interpretation.
  60. Definition eludes the delicate pleasures of this marvelous, idiosyncratic movie collage.
  61. Pawlikowski has made a romance that becomes a horror movie in which love, more than anything around it, is a delusionary fever to fear.
  62. A film of wonderful looseness and innovation. Set free to film fakes, the director is the real thing.
  63. Those Oompa-Loompas are the beat, and soul, of Burton's finest movie since "Ed Wood": a madhouse kiddie musical with a sweet-and-sour heart.
  64. It's a quiet dream of a movie, a vision of loneliness giving way to love, then to loneliness again; it's like "Vertigo" remade in a sedately haunted style of Japanese lyricism.
  65. Amy Adams in a performance as deep as it is delightful, is the film's heart and also its flaky, wonderstruck soul.
  66. A movie of uncommon sweetness and delight.
  67. Rapt, heady, and startling: the most profound documentary I've seen this decade.
  68. Bestows generous blessings on all that's good in Englishness, in moviedom, and, of course, in cheese.
  69. A doozy of a French gangster pic that, in its beautifully refurbished and pithily resubtitled re-release, turns out to be one of the highlights of the 2005 movie year.
  70. Down to the Bone achieves what only the best independent films have: making life, at its most unvarnished, a journey.
  71. One of the wonders of the holiday season.
  72. To call Match Point Woody Allen's comeback would be an understatement - it's the most vital return to form for any director since Robert Altman made "The Player."
  73. It's a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions.
  74. Munich, Steven Spielberg's spectacularly gripping and unsettling new movie, is a grave and haunted film, yet its power lies in its willingness to be a work of brutal excitement.
  75. The picture moves with stealth, enjoying its own thriller-ness as hints are laid and mislaid. There's a sense that Hitchcock is hovering in the background and cheering for Auteuil, who musters all his French superstardom to play a man having his mask of blandness torn off.
  76. Of the idiosyncratic ''little'' movies that Soderbergh has made to clear his head (Full Frontal, Schizopolis), this is the first that truly connects.
  77. The first great, mind-tickling treat of the new movie year.
  78. The enthralling spirit of Dave Chappelle's Block Party, its mood of exuberant democracy, extends to every rap and soul performance in the film.
  79. This beautiful, terrible story is not easily forgotten.
  80. Mr. Lazarescu is that rich and riveting a film of universal small human moments and big-system failure.
  81. The picture was made in 1969 and is only now being released in the U.S., in a beautiful restoration supervised by original cinematographer Pierre Lhomme.
  82. Russian Dolls captures how being a sexual cad has become an essential phase in the life of the modern male.
  83. 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.
  84. Maggie Gyllenhaal is such a miracle of an actress that she makes you respond to the innocence of Sherry's desperate, selfish destruction.
  85. It's in all the moments where little happens that Reichardt is most amazing, investing even a gas-station pit stop with perfect emotional pitch.
  86. 49 Up is a precious document, and must viewing.
  87. Brilliant and psychologically transfixing documentary.
  88. 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.
  89. The calm poetry of the cinematography offsets the mess of the politics to stunning effect.
  90. The ensemble cast shared the best-actor award at the 2006 Cannes film festival -- and rightly so.
  91. It's a poison bonbon tastier than just about anything else out there.
  92. 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.
  93. The serious accusations are leavened by the moments of brimming, illogical, intimate neighborly dailiness the filmmaker also captures with warmth and infectious high spirits.
  94. Grindhouse, like "Ed Wood" and "Boogie Nights," celebrates how certain low-grade entertainment, viewed in hindsight, looks different now than it did then, since we can see the ''innocence'' of its creation -- the handmade quality of it -- in a world not yet ruled by corporate technology.
  95. A love poem to the New York City of the '50s and '60s, when Smith, the visionary of camp (Andy Warhol stole from him), more or less invented performance art.
  96. A wee romantic charmer, a delectable Dixie screwball romp that never loses its spry sense of discovery.
  97. A marvel of warm collaboration and shared jokes about husbands and wives, shot both in dreamscape color and pristine black and white.
  98. Jennifer Baichwal's gorgeous documentary Manufactured Landscapes amplifies the powerful work of Edward Burtynsky, a Canadian artist who specializes in large-scale photographs of terrain transformed by civilization into rivers and tides of industrial ugliness.
  99. There's an adult life force in every frame of this luxuriously paced work, even in the sight of rain and a lady's stocking.
  100. A funny and madly arresting new documentary.

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