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. Shainberg reduces this most disturbing of all photographers to a portraitist of Halloween.
  2. The baby-voiced costar of "Chasing Amy" proves an effortless filmmaker, turning Lucy’s journey into the awakening of a soul.
  3. Holland's empurpled bio-fantasy is hooey with an anachronistic feminist slant from start to finish.
  4. Examination of one of the English language's most useful utterances and why the sound packs such a friggin' wallop.
  5. When Baron Cohen works without a net, he flies.
  6. Flushed Away lacks the action-contraption dottiness of a Wallace and Gromit adventure, but it hits its own sweet spot of demented delight.
    • 32 Metascore
    • 50 Critic Score
    This Styrofoam snowman of a sequel overdoses on its own candy-cane-colored sugary cheer.
  7. The movie opens as borderline Hitchcock, echoing the tone of the filmmaker's bravura "Bad Education" (2004), and then turns into a kind of overly conceptualized Tennessee Williams.
    • 61 Metascore
    • 58 Critic Score
    Wondrous Oblivion goes awry in its sloppy racial drama, and although the cricket-training montages are good, they're still training montages, and this is just that kind of overfamiliar movie.
  8. Measured in anything other than biblical cubits, the sum of Babel's many parts turns out to be a picture that suggests Americans ought to stay home and treat their nannies better.
  9. With the same affinity for stories of culture clash he showed in "The Quiet American" and "Rabbit-Proof Fence," director Phillip Noyce embraces the tale with gusto.
  10. Admit it: It's not every horror film that can make you feel preached at and slimed at the same time.
  11. Exquisitely structured, pitiless study of a middle-aged man trapped in a stagnant emotional weather pattern.
  12. Through it all, Natalie Maines' decision to shirk humility, to stick by her guns, to the point that the group returns to that London concert venue in 2006 and she utters the same joke again, becomes a feisty and inspiring act of something there is only one word for: patriotism.
  13. The movie IS a provocation, but not a glib or ideologically myopic one.
  14. Cocaine Cowboys, which at times seems like it could have been edited by someone on coke, comes at you as a vast bloody river of underworld information.
  15. Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
  16. Surprisingly square portrait of avant-garde artist and director Robert Wilson.
  17. The Bridge crosses a disquieting line.
  18. Coppola's stranded royal suggests that at heart, Marie Antoinette was just a simple girl who wanted to have fun, and got her head handed to her.
  19. Watching Running With Scissors the movie instead of reading Running With Scissors the best-selling memoir by Augusten Burroughs is like running with a spatula, or maybe some weird toast tongs.
  20. The trouble is, he's preaching to the choir -- or, at least, to a culture, profoundly influenced by Tom Brokaw's "The Greatest Generation" and Steven Spielberg's "Saving Private Ryan," that has already absorbed the lesson that ''the Good War,'' while it may have been noble, was never less than hell.
  21. As for our heroine (Lohman), her archetypal struggle with crusty Pa (uncrusty Tim McGraw) feels attitude-heavy and life-lesson-light.
  22. The Prestige isn't art, but it reaps a lot of fun out of the question, How did they do that?
  23. Hamilton, in her movie debut, is a find: the kinkstress next door.
  24. 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.
  25. Requiem is drawn from an incident that was also the basis for last year's demon-seed hit, "The Exorcism of Emily Rose."
  26. 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.
  27. A warm and honest portrait of a marriage at its most mysterious, and ordinary.
  28. Once again, we're treated to loosely aligned scenes of half-formed characters getting a faceful of director Takashi Shimizu's croaking, implacable, and, yes, still scary housewife-geist.

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