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. The amazingly natural first-timer was discovered, in a gift of publicity-ready truth, while having an argument with her boyfriend at a train station.
  2. Bad Lieutenant doesn't go where you expect, but it has a stubborn, trippy logic.
  3. Working with affectionate mockery, the Coens take the cinder-block-synagogue banality of American Jewish life in 1967 and make it look as archly exotic as the loopy Scandinavian-American winterscape of "Fargo."
  4. Many of the characters go by two different names. So best advice for optimum viewing is, see Broken Embraces...twice.
  5. With its this-is-really-happening vibe, Paranormal Activity scrapes away 30 years of encrusted nightmare clichés. The fear is real, all right, because the fear is really in you.
  6. At two hours and 32 minutes, this is almost too much movie, but it has a malicious, careening zest all its own. It's a ride for the gut AND the brain.
  7. The chattering smarty-pants who ran the U.S. government on "The West Wing" are slow talkers compared with the motormouthed and hilariously imperfect power elite in the brainy British comedy In the Loop.
  8. The breath of cinematic life, though, the sensibility, the energy, belong to Joel and Ethan Coen, and this is their stirring success.
  9. Campion's big-sisterly encouragement of Cornish's lovely, openhearted performance -- and Whishaw's well-matched response -- results in a character instantly, intimately recognizable to anyone remembering her own first love.
  10. For nostalgia junkies, it's one from the heart.
  11. 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.
  12. Moreau is bewitching -- she simply breathes her role, without a hint of vanity.
  13. The most beautiful movie ever made about a man who could only move one eyelid -- almost dangerously beautiful.
  14. Darkly funny, twisty-cool existential tragicomedy, loaded with smart notions and filmed like a surrealist dream.
  15. Utterly riveting fictional drama.
  16. A disturbingly avid re-creation of the last six weeks in the life and slow, self-imposed wasting of Irish hunger striker Bobby Sands.
  17. A movie at once understated and radical, deceptively unremarkable in presentation and ballsy in its earnestness. Don't let the star's overly familiar squint fool you: This is subtle, perceptive stuff.
  18. It's probably the impresario's best-made movie yet, his most joyful, and his most moving.
  19. A movie of tough excitement and surprise, even grace.
  20. A curious case indeed: an extravagantly ambitious movie that's easy to admire but a challenge to love.
  21. Helen Mirren's allure lies not in finding what's regal in every woman she plays, but in finding what's womanly in every royal.
  22. A blithe charmer balanced somewhere between a life-should-be-so-neat fairy tale and a life's-a-real-bitch tragicomedy, leaves political debate at the ticket counter and focuses solely on what it's like for Juno MacGuff to be Juno MacGuff.
  23. Tell No One's plot thickens in about five ways at once, but they're all connected. The issue of how is a riddle that does more than tease --gives you an itch you won't want to stop scratching.
  24. Hopping from Germany to Turkey and back again, Akin is out to capture the ways that a globalized world can tear up our hearts, and repair them, too.
  25. But the story is, still and all, only a pause, deferring an intensely anticipated conclusion. And it's in that exquisite place of action and waiting that this elegantly balanced production emerges as a model adaptation.
  26. A gaudy, daring, operatic, and bloody funny provocation of a melodrama from Park Chan-wook.
  27. An outrageously gorgeous spectacle of balletic aggression. At the same time, it offers something we rarely encounter in a whirling martial-arts extravaganza: a romantic passion that's woven into the very fabric of the action.
  28. Spins a thorny tale of political corruption laced with personal sleaze.
  29. The beauty of Into the Wild, which Penn has written and directed with magnificent precision and imaginative grace, is that what Christopher is running from is never as important as what he's running TO.

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