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
  1. The man has the right to retire, but what will he do with all the words in his head?
  2. Anderson's big, showy flower of a movie unfurls brilliantly, each plot petal a thing of exquisite design. Then it ripens. Then it disintegrates, leaving a mess of color and a faint whiff of rot.
  3. If you sign on, disarmed of irony, for her trip -- I did -- you'll be rewarded with a rare thing that may in itself prove the existence of a Higher Power: a Hollywood entertainment that makes you consider deep thoughts.
  4. The most spellbinding aspect of Bright Future is that the surrealism sustains its own squiddish logic, concluding with one of the most breathtaking film finales of the year.
  5. Writer-director Jim Sheridan, co-screenwriter Terry George, and Sheridan's favorite actor (and Oscar winner for My Left Foot) Daniel Day-Lewis reunite in The Boxer with a mellower political message that translates, roughly, into ''Can't we all just get along?''
  6. First-time writer-director Rodney Evans makes a ballsy leap into historical fantasia, with heartfelt fervor outrunning stray moments of artistic gawkiness.
  7. Starts out as mind-bending futuristic satire and then turns relentless -- it becomes a violent, postpunk version of an Indiana Jones cliff-hanger.
  8. It's a psychological thriller that actually thrills.
  9. Paradoxically, a movie that loses power the more you perceive what's actually going on in it. Laid end to end, the story is, to put it mildly, overwrought, fusing several cataclysms too many.
  10. Honoring the literary ground beneath it, spotted yellow lizards and all, the movie Holes is easy to dig.
  11. It's the first futuristic disaster movie that's as cute as a button. Which, when all the special effects blow over, is what we Americans like in a monster hit.
  12. At 73, Chomsky seems to understand everything about power and aggression -- except, that is, its centrality to human nature.
  13. It evokes the spirit of Hitchcock and Highsmith.
  14. A nifty, entwined, ultimately gripping adaptation of British crime writer Ruth Rendell's novel ''The Tree of Hands'' by French director Claude Miller.
  15. The film is held together by Clive Owen, who spends most of his time on screen hidden beneath matted hair and a scruffy beard but still has more aura than any actor around.
  16. This is a sensual, psychologically modern costume drama influenced by both "The Godfather" and gals' guides to empowerment.
  17. Every moment spent in the company of Keaton... is such a joy that the whole is more delightful than the sum of the formulaic ingredients. Keaton makes Nicholson bounce the way Shirley MacLaine once did in ''Terms of Endearment.''
  18. There's a painterly translucence to this ''Springtime,'' and a mystery, too; each frame is as delicately poised and lit as a Vermeer portrait of a woman, beckoning but unknowable.
  19. Although In the Mood for Love isn't in the mood for action, it dazzles with everything but.
  20. This is the sort of incendiary role a lot of actors would kill for, yet the shock of Norton's performance isn't its showboat flamboyance. It's that he makes this sadistic junior sociopath rueful and intelligent.
  21. By rocketing ahead 200 years from the previous film and jiggering the story cleverly (with a script by Toy Story coscreenwriter Joss Whedon as late-'90s wiseacreish as Alien3 was early-'90s portentous) to create a Ripley reconstructed through a mix of human and alien DNA, Alien Resurrection power-kicks the whole definition of the Horrifying Other into a fresh, deep, exhilaratingly thoughtful, millennium-sensitive direction. [5 Dec 1997, p. 47]
    • Entertainment Weekly
  22. This is a gentle, engaging narrative of constancy and devotion against all odds, both natural and bureaucratic, in which the past represents enduring family values and customs.
  23. The final 20 minutes of Blue Crush can stand as one of the few highlights in a movie summer of mostly hollow action-carnival fireworks. The trick, for once, isn't that we're watching superhuman stunts; it's that we're watching deeply human stunts.
  24. Kicky, elaborately constructed fantasy.
  25. The story itself is so powerful and troubling, the moral geometry so vertiginous, and the photography so big that anything other than the natural sounds of snowfall and footfall is a Flat Earth Society intrusion.
  26. An intensely exciting puzzle-gimmick thriller, the kind of movie that lets you know from the start that it's slyly aware of its own absurdity.
  27. Makes shameless use of tried-and-true elements -- but it's hardly the same old song.
  28. Like its two predecessors, Scary Movie 3 is a hit-or-miss affair, but the gags that connect really connect.
  29. You never forget you're watching a derivative, machine-tooled entertainment; the fun is in how the machine keeps spinning off course.
  30. Doesn't offer anything to adult viewers as thrilling, as shivery, as satisfyingly primal as Steven Spielberg's intricate predator choreography in the original ''Jurassic Park.''

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