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 storytelling may be ordinary, but the cast is one of those all-star reunions.
  2. Son Frère is hushed, clinical, grimly paced, and moving.
  3. It's a fluid cinematic essay, rooted in painstakingly assembled evidence, that heightens and cleanses your perceptions.
  4. Ricardo Darín, wearing a mild-mannered expression of emotional remove, plays the unnamed antihero, obsessed with imagining the perfect robbery. The ''aura'' is the clarity with which he sees -- or imagines he sees -- the world in moments preceding an epileptic attack.
  5. A fizzy, twisty Southern-fried heist flick that’s more enjoyable the less you try to dissect it.
  6. If only they’d trusted it more, they might have made a marvelous kids’ film instead of a merely charming one.
  7. High Life is, at turns, gorgeous, ridiculous, and confounding. Yet, the more you wrestle with it, the more it haunts you. As for Pattinson, who commits as fully as ever, he can rest easy knowing that he’s left his audience another riddle to chew on.
  8. The past-and-present layering is a lot more resonant -- and less sketchy -- than the film's theme of ''betrayal,'' both familial and governmental.
  9. There are many places a visitor may go astray in 2046 -- places where the filmmaker appears to be a bit at loose ends too. Still, Wong's invitation -- ''Let's get lost'' -- is irresistible.
    • 78 Metascore
    • 83 Critic Score
    Ben Hecht supplied the cynically amusing script, but the brilliant Lombard makes it fly — wringing laughs from an arsenal of loopy gestures and cacophonous outbursts.
  10. All of Kung Fu Hustle is like that: You don't just watch it, you ride with it, laughing all the way.
  11. Tom Hanks, Bill Paxton, and Kevin Bacon try to get inside the skins of these space-age pilot jocks, but the roles, as written, don't give them enough to work with.
  12. Meru the film, then, might be the anti-Everest. There are no expensive special effects, but there is a lot of authentic climbing footage.
  13. The film lacks the atmosphere of David Lean's "Great Expectations" or the weighty iconography of any one of a number of "Christmas Carols," but a sincere affection for and understanding of the source material shines through in its wit and good nature.
  14. Clemency does what few other movies about death row have, handling a thorny, infinitely complicated subject in terms that are neither moralizing nor melodramatic. And Chukwu’s clean-lined storytelling has an undeniable pull; something quietly incandescent at the center. In the end though, it’s hard not to wish that she’d let a little more light in.
  15. The pace of the drama is riveting, as it jumps back through the decades to place the accident in the context of the nuclear arms race.
    • 77 Metascore
    • 75 Critic Score
    But Van Sant, whose vision is otherwise sharp, pushes the connection to Shakespeare's Henry IV too far, having Reeves at one point declaim in rhyming couplets, which severely tests even the most forgiving viewer.
    • Entertainment Weekly
  16. Scorsese, I think, is so invested in making The Aviator upbeat and rousing that the movie never quite reveals, the way that "Kinsey" or "Ray" or "A Beautiful Mind" or even a good E! True Hollywood Story do, how its hero's vision and his grand torments could be flip sides of the same temperament.
  17. Till-Mobley's choice to let the world see what Mississippi had done to her son — she demanded an open casket at his funeral — helped ignite a movement, and made history. Till bears stirring witness to that, even if it leaves the full measure of her life a mystery.
  18. Lee Marvin, it must be said, is terrific as the platoon commander, and Fuller deserves props for the film's one sustained sequence: the D-Day attack, in which the platoon gets pinned on the beach for a hellish eternity.
  19. Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.
  20. Huppert is a wonder, inhabiting every iota of rage and froideur and helplessness; if only the movie's motives were as lucid as her performance.
    • 77 Metascore
    • 75 Critic Score
    A sense of duty and morals doesn’t render Gibney infallible as a storyteller, however, as even passion for justice sometimes breeds overindulgence when you’re drunk with power and a camera.
  21. Peele has never leaned this close to early Spielberg (or if you're feeling less charitable, mid-period M. Night Shyamalan).
  22. More narratively straightforward (but also masterfully edited in F for Fake style), the documentary takes its title from a Welles quote about the fickle hypocrisy of the movie business and about his other favorite subject: himself. And that quote couldn’t have been more spot-on for a man who was most appreciated most only when it was too late.
  23. It’s not Toy Story or Inside Out or even Nemo. What it is is a perfectly enjoyable family film that’s comforting, familiar, and a bit slight, like one of those serviceable Lion King spin-offs that Disney used to ship straight to DVD back in the ‘90s.
  24. Out of a harrowing story set in a foreign thicket, Herzog has found American beauty.
  25. A moderately adorable, musically wacky, ecologically activist CG family comedy.
  26. Powerful and searching documentary.
  27. Director David Gelb pulls back the curtain on the kitchen rituals of sushi, inviting us to experience the savory-smooth sensation of ''umami,'' roughly translated as ''Ahhh!''

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