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. A spooky, moving documentary.
  2. There are no zombies to distract from the plausibility of Right at Your Door. And that's what makes this smart, coolly horrifying American indie thriller one of the scariest movies you're likely to see all year — a post-9/11 nightmare about terrorism, panic, and paranoia with real, waking-life implications.
  3. Amir Bar-Lev's engrossing film is as much about the stubborn ambiguities of art, truth, meaning, and relationships as it is about the authenticity of the Olmstead oeuvre.
  4. There's a kind of tough beauty to this deft, satisfying thriller.
  5. A nimble and supple and moving comedy.
  6. Agreeably skewed fun.
  7. Aaron Woolf's we-are-what-we-eat documentary King Corn is a lively introduction to the corn industrial complex.
  8. Andrew Wagner has made a lovely comedy of death and rebirth.
  9. Which brings us back to Kidman, who really IS sensational here.
  10. Where "No End" is cool and measured, Taxi is hot, anguished, and sometimes as difficult to watch as pictures of torture ought to be.
  11. The 3-D visuals envelop you, majestically, and that effect fuses with the band's surround-sound rapture to create a full-scale sensory high. U2 3D makes you feel stoned on movies.
  12. Something marvelous happens as the filmmaker, in his first feature, expertly metes out small scenes of communication between people taught, for generations, to be wary of one another: This Band swings with the rhythms of hope.
  13. Without doing anything so divisive as taking sides, The Counterfeiters pays sympathetic attention to those who play their cards to win even when the rules are terrible, not least because the remarkable Markovics, an Austrian TV actor with a pugnacious anvil of a head, is so riveting as an unsaintly survivor.
  14. One of the pleasures of The Bank Job is that it returns us to the days when robbing a bank was a gritty, hole-in-the-wall affair.
  15. If I ran the circus, the gang that made the sturdy, witty, inventively animated Dr. Seuss' Horton Hears a Who! would get first dibs on any future movie productions of the Theodor Seuss Geisel canon.
  16. It's a thin line between 20th-century Nazism and 21st-century corporate culture in Heartbeat Detector, Nicolas Klotz's rewardingly chilly psychological thriller.
  17. The film says that the U.S. immigrant situation is untenable, but then it forces US to ask: What should be done?
  18. The rare footage of '50s and '60s L.A. alone is a treasure; the City of Angels has rarely looked so hip. Bonus: cool music from the likes of Charles Mingus and the Velvet Underground.
  19. Juliette Binoche is outstanding as a wildly untogether single mother who parks her son with a French-speaking Chinese nanny while she whirls and worries.
  20. They also make joyful music, communicated, both by the singers and their playful, sensitive documentarian, with an authority that quite knocks off socks.
  21. Morris, using a welter of photographs (many of which we haven't seen), constructs a day-to-day sense of how Abu Ghraib descended into a medieval hell.
  22. Doug Pray's cool documentary about 85-year-old Dr. Dorian Paskowitz, his wife, and their eight sons and one daughter is about surfing insofar as surfing is the family's shared passion.
  23. Reprise is kissed with the breath of French New Wave sensibility, sweet with verve and a love of forward movement. The mood of joy in the midst of youthful pain is enhanced by the freshness of the first-time lead actors.
  24. Bigger, Stronger, Faster is a portrait of a culture that claims to hate steroids but may, by now, be too pumped to do much about it.
  25. Not short on broad physical humor. But Simmons is a brilliantly detailed grotesque capable of withstanding comparison to his most obvious inspiration, Ricky Gervais' "Office" boss David Brent.
  26. Light and goofy, yet the fight scenes, which are the heart of the film, are lickety-split mad fun.
  27. The movie also captures Thompson's tragedy: the haze of drugs and bad writing that consumed him for no less than his last 30 years.
  28. Anyone who thinks that Josh Hartnett isn't a true movie star should see his riveting, high-wire performance in August.
  29. He's a bombs-away provocateur, and in Religulous, Maher's blasphemous detonation of all things holy and scriptural, he doesn't really pretend to play fair. He's like Lenny Bruce with an inquiring mind and a video camera.
  30. This is a dark story as well as a frothy one. But the bubble of absurdist self-absorption in which Menzel places this specimen of man-child is exquisite.

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