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. There's a long tradition of filmmakers poking fun at the movie business. But no one bit the hand that fed him more viciously or with sharper fangs than Billy Wilder in Sunset Boulevard.
    • 94 Metascore
    • 100 Critic Score
    Wilder’s movie manages to be a scathing social satire and cautionary tale (the corporate lingo is prescient: ”preliminarywise,” ”manpowerwise”); a brilliant physical comedy (Lemmon’s tennis-racket-spaghetti-straining skills are superb); and a devastating romance between Baxter and Miss Kubelik (Shirley MacLaine). All of which makes Wilder’s masterpiece tough to take if you’re looking for a laugh riot.
  2. A ruthlessly heartbreaking tale of a famous gunslinger (Gregory Peck in a black mustache and a little black hat) grown weary of facing down an increasingly young bunch of challengers to his quick-draw supremacy.
  3. It’s a feast for the ears, eyes, and soul.
  4. 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.
  5. It’s real life, heartbreaking and sublime.
  6. A rivetingly journalistic account of a scoundrel's rise and fall.
  7. Though it may not be an easy movie to watch, or even a particularly original one — there’s still Kramer vs. Kramer, after all — Marriage still feels like something special on the screen: a movie that somehow makes its intimacy seem like a radical act, one messy, heart-wrecking moment at a time.
  8. To watch it now is to appreciate more than ever Gene Hackman’s uncompromising talent, Owen Roizman’s great, barely-color cinematography, and a time when the spectacle of a foulmouthed, racist, brutal cop could still outrage as many moviegoers as it excited.
  9. It’s stunningly ambitious and thrillingly alive the way the best movies are.
  10. Sciamma's elegant, melancholy fable captures something lovely and ineffable: a brief glimpse into life's great mystery.
  11. Gerwig doesn’t trap her protagonist in the oblivious underage bubble that most coming-of-age dramedies inhabit; Lady Bird’s parents, played by Tracy Letts and Laurie Metcalf, are fully formed humans with their own deep flaws and vulnerabilities.
    • 93 Metascore
    • 100 Critic Score
    Funny and scary, Reversal is a tour de force for Schroeder, who examines the idle rich, the intricacies of the legal system, and the imperatives of morality concisely but with unmatched brio.
    • Entertainment Weekly
  12. Lee's hand in all this seems to be a light one; aside from his intimate but unobtrusive camerawork, the show appears essentially unaltered from the live performance.
  13. Kore-eda is working up to something else, steering the story he’s built so carefully toward an utterly unexpected detour. As much of what we think we know unravels, the film becomes not just an enjoyable, intermittently poignant portrait of imperfect people but a profound meditation on the meaning of family.
  14. It seems pompous and scattershot now -- a tweaking of privileged European smugness that unfolds with a playful daisy-chain logic but has the tone of a quaint, doddering lecture.
  15. A vibrantly madcap dark comedy.
    • 93 Metascore
    • 100 Critic Score
    The film’s air of doom isn’t what some would call romantic, but as in The English Patient, it heightens the leads’ ardor.
  16. With Inside Llewyn Davis, they've made a film that is almost spooky in its perversity: a lovingly lived-in, detailed tribute to the folk scene that — hauntingly — has shut their hero out.
  17. Action-packed and jaw-droppingly epic (it was the first time director John Ford ever shot in Monument Valley), Stagecoach is the perfect Western to show to people who don’t like Westerns.
    • 93 Metascore
    • 100 Critic Score
    Controversy aside, ”Blimp” splendidly marries a sprawling narrative to stunningly imaginative filmmaking.
  18. The movie belongs to Blanchett, in a turn so exacting and enormous that it feels less like a performance than a full-body possession.
  19. For bleakness, the movie can't be beat -- nor for brilliance.
    • 93 Metascore
    • 100 Critic Score
    Top Hat is tops with two of the duo’s most sublime numbers (The Piccolino, Cheek to Cheek), plus Fred’s rat-a-tat solo, a funnier-than-you-remember script (Erik Rhodes’ English-mangling designer exclaiming: ”Never again will I allow women to wear my dresses!”), and the hummable Irving Berlin score.
  20. Extraordinary new documentary that turns Robert Crumb's twisted life story into a disturbing, exhilarating work of biographical art.
    • 93 Metascore
    • 91 Critic Score
    Fellini weaves the director’s memories and fantasies into a brilliant blend as Guido comes to realize that lives, like movies, need direction.
  21. Tautly directed by Tom McCarthy (The Visitor), the film hums as a tense shoe-leather procedural and a heartbreaking morality play that handles personal stories respectfully without losing sight of the bigger, more damning picture.
  22. The Wizard of Oz remains the weirdest, scariest, kookiest, most haunting and indelible kid-flick-that's-really-for-adults ever made in Hollywood.
  23. The most beautiful movie ever made about a man who could only move one eyelid -- almost dangerously beautiful.
    • 92 Metascore
    • 100 Critic Score
    An extremely tight, beautifully made film.

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