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 2.1 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
    • 75 Metascore
    • 83 Critic Score
    The brilliance of Michael Mann's Manhunter is that it appreciates that the true nexus of humanity is our shared closeness.
  1. Bright dialogue and finely embroidered performances adorn The Guru like festive beading on a pair of made-in-India bedroom slippers.
  2. Somberly fantastic new mystery thriller.
  3. Underneath the ravishing imagery however, hearts are in flux.
  4. Wide-ranging and beautifully edited -- it's a vivid evocation of a moment when even the ugliest guitar feedback could be taken as a serious political statement.
  5. A sturdily diverting old fashioned heist thriller that looks like a masterpiece of sheer competence next to the slovenly action fantasy F/X grab bags that have been passing for summer entertainment.
  6. The two XXL personalities are in fit, fighting form in a comedy as bracing and furiously right for the moment as it is broad and huggable.
  7. Smart enough to hook us with the best thing it has going: Cedric the Entertainer's gruffly uproarious and lived-in performance as Eddie.
  8. Crowe sometimes summons up one of the most powerful depictions of mental illness I have ever seen with barely an eyelid flicker separating manifestations of sickness from utterly sane displays of creative concentration.
  9. Although it shares a bitter interest in slum desperation with last year's Brazilian-underbelly docudrama ''City of God,'' Bus 174 pulls ahead, I think, by not confusing cinematic pizzazz with the content of misery.
  10. To explain a serial killer is to diminish his madness, but Dahmer does something quietly riveting. It lets you brush up against the humanity of a psycho, without making him any less psycho.
  11. Zigzags across the conventions of genre, occasionally driving on the shoulders of black humor -- it's a road movie for the way we process suspense today.
  12. The movie has a mystery, and moral unease, that lingers.
  13. Reflect the robust status of Yiddish theater in the early 20th century, and its post-Holocaust decline.
  14. Gravity-defying kung fu choreography.
  15. That his (writer-director Tom McCarthy) strange, often funny film is so well-disciplined and deadpan refreshing is an achievement.
  16. An unexpectedly alert teen-scream disaster chiller.
    • 84 Metascore
    • 83 Reviewed by
      Ty Burr
    Alec Baldwin is on camera for barely eight minutes in Glengarry Glen Ross, the tightly wound — and actually very fine — film adaptation of David Mamet’s play. But his big speech, whipping up the assembled real estate salesmen with reptilian gung ho, could stand as a compressed version of what makes Baldwin, when bad, so good.
  17. The already heavy-footed clomp of Grisham's declamatory storytelling style has been given an extra-thick-soled, wing-tipped, liberal-leaning, reality-tampering kick thanks to a screenplay credited to four writers.
  18. This charming, if unnecessarily coronation-length production gets the duckling-to-swan ambivalence just right.
  19. The easygoing silliness with which this late-summer movie surprise scuttles from mayhem to mayhem and the verve with which the cast throws itself into the fray are so cheering and liberating.
  20. Another grotty drama about junkie love? Well, yes...I make an exception for Jesus' Son.
  21. The performances are vividly alive.
  22. The movie is a great big feast of wreckage. But that’s also what makes it a bit numbing.
  23. Delectably caustic comedy.
  24. A pulsating snapshot of America caught in a mad, liberating identity crisis.
  25. May not tell a great story, but it's a great wow.
  26. This is an origami story, really, about what a construction of chance the big world is.
  27. When they're good, the Yes Men are astonishing, anarchic sights to behold.
  28. The biggest problem with Lone Star is that colorful Charley Wade isn't the center of the movie -- it's bland Sam Deeds. Cooper isn't a compelling enough movie star to carry us along some of the film's more languid twists and turns.

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