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 1.9 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. Her
    Jonze's satiric, brave-new-world premise is undeniably clever, but it's also a bit icy emotionally.
  2. If Gerwig’s woke Women-hood verges on anachronism, though, it also feels fully loyal to the spirit of Alcott, a woman always well ahead of her time. And like a sort of balm too, for an era when the novel’s long-held values — courage, kindness, strength in vulnerability — still feel a lot further away than they should.
  3. Bogart is hilariously crusty as a hard-drinking river rat who journeys downriver on a rickety steamer with a prim missionary (a flawless, lock-jawed Hepburn), trying to stay one step ahead of the Germans.
  4. If ''Finding Nemo'' is an awesome Pixar superpower, The Triplets of Belleville is a charming, idiosyncratic, self-governing duchy with huge tourism potential on the other side of the animated-movie planet.
  5. By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.
  6. Nickel Boys is a fragmented film, so much so that it can be difficult to grasp it. But at a certain point, it turns around and grabs you instead, refusing to let go until you're left sitting in a startling and stunned silence.
  7. Ida
    With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.
  8. (Denis's) visual style is hypnotic, rapturous, and she makes barren landscapes look gorgeous, hard men look vulnerable.
  9. Waltz With Bashir has transcended the definitions of ''cartoon'' or ''war documentary'' to be classified as its own brilliant invention.
  10. In Madison, Baker has found a perfect conduit for his ideals, making Anora a culmination of the themes that have dominated his work for years.
  11. This couldn’t be further from the corsets and curtsies of your typical Hollywood prestige period piece. It’s more like "All About Eve" directed by a Satyricon-era Fellini all hopped up with enough sex, deviance, hypocrisy, decadence, and spicy profanity to make your average Masterpiece Theatre patron reach into their PBS tote bag for some smelling salts.
  12. Carpenter's brutally efficient exercise in tension and release.
  13. Leaves you shaken and ecstatic at the same time, transported by the vision of a major film artist.
  14. A buoyant, funny, and disarmingly humane comedy of beautiful losers in revolt.
  15. Naturally, if you’re putting it before youngsters’ innocent eyes for the first time, you’ll want to stick close by in order to play grief counselor when Bambi’s mother ”meets” a hunter in the woods.
  16. The film, by seasoned cinematographer Dror Moreh, is a feat — of access and of passionate and appropriately unsettling political commentary.
  17. The new film, which unfolds in real time over the course of 80 minutes, is a deeper, darker, altogether more memorable experience. It doesn't extend the characters so much as fulfill them.
  18. Worst has no shortage of gorgeous-people problems — more than enough, in fact, to fill 12 cinematic "chapters" — but it vibrates with real life, a film so fresh and untethered to rom-com cliché it might actually reshape the idea of what movies like this can be.
  19. A movie of staggering virtuosity and raw lyric power, a masterpiece of terror, chaos, blood, and courage.
  20. Licorice (the title, never once mentioned or explained, remains a happy non sequitur) is a love letter to an era, and more than that a feeling: a tender, funny ramble forged in all the hope and absurdity of adolescence, one wild poly-blend rumpus at a time.
  21. Only Yesterday may have been released in 1991 and take place in 1982 and 1966, but Taeko’s reflection on girlhood is truly timeless.
  22. By the time The Crying Game is over, you'll never look at beauty in quite the same way.
  23. A bittersweet comic absurdity, told in the rhythms of real life.
  24. When you get past Miller’s orgy of loco action sequences—and they’re so good, you may not need to—the story is pretty thin.
  25. One of the unshowiest and most true-blooded epics of Americana you're ever likely to see.
  26. 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.
  27. Grief is a funny animal; it tangles itself in our organs and sinews, permanently altering how we love, how we see ourselves, and how we make sense of our identity. That's what Haigh is unraveling here, with a bittersweet emphasis on the power of love and its ability to transcend even death itself.
  28. Paul Newman won his Best Actor Oscar for its 1986 sequel, The Color of Money, but he executed an equally award-worthy turn in Robert Rossen’s jazzy, boozy pool-hall morality play.
    • 90 Metascore
    • 91 Critic Score
    Remember when ”ER” delivered keen social critiques wrapped in satisfying drama? If you miss that medicine, you need a dose of director Akira Kurosawa’s Red Beard, a three-hour soap opera about a 19th-century Japanese clinic.
  29. It's a mad cycle of arrogance and despair, and Bloody Sunday etches it onto your nervous system.

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