Entertainment Weekly's Scores

For 7,798 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:
7798 movie reviews
  1. Going the Distance may be a minor movie, but it's also the rare romantic comedy in which you can actually believe what you're seeing.
  2. Even when nothing is happening, the often dead-silent shots tend to grow scarier the more you look at them.
  3. The surprise of Let Me In is that director Matt Reeves (Cloverfield) hasn't just remade the Swedish cult vampire film "Let the Right One In" into a more fluid and visceral movie. He's made it more dangerous.
  4. The ever-magnetic Sam Rockwell is Kenny, Minnie Driver is full of beans as Betty Anne's best friend, Melissa Leo is wicked good as an ornery cop, and, in her two chewy scenes, Juliette Lewis reminds fans why we want her to run free forever.
  5. Monsters is really a road-movie romance that tracks the burgeoning relationship between two strangers as they travel through the "infected" zone.
  6. Too goofy-surreal to pack a lot of emotional punch, but it's antically light on its feet, with 3-D images that have a lustrous, gizmo-mad sci-fi clarity.
  7. The movie's redemptive structure is a bit routine, yet I watched nearly every scene with a sense of discovery. Coppola is a true filmmaker, and in Somewhere she pierces the Hollywood bubble from the inside.
  8. The Debt is basically an entertaining riff on "Munich." It's about a (fictional) operation of top secret Israeli revenge, carried out by three highly trained agents whose plan goes off the rails in ways that are more fascinating than the mission itself.
  9. Fair Game gets you riled up all over again at a deeply unpatriotic abuse of power.
  10. Damon's how-to-break-the-law lesson - as ludicrous as anything else in this enjoyably zigzaggy exercise in accumulating peril - grants Neeson the fun of experimenting with an American ex-con accent for his one scene.
  11. Lurid and voluptuous pulp fun, with a sensationalistic fairy-tale allure. You can't take it too seriously, but you can't tear your eyes away from it, either.
  12. It's a minimalist "Sideways," not so much mumblecore as talkycore.
  13. A rivetingly journalistic account of a scoundrel's rise and fall.
  14. Lest the audience miss a cue, Hooper and soundtrack composer Alexandre Desplat count on the ringing grandeur of Beethoven's Seventh Symphony - the famous second movement, no less - to amp the emotions.
  15. Writer-director Tanya Hamilton's intellectually ambitious debut drama Night Catches Us is all the more notable for setting well-drawn fictional characters in a fraught, real moment in civil rights history.
  16. Truer than the John Wayne showpiece and less gritty than the book, this True Grit is just tasty enough to leave movie lovers hungry for a missing spice.
    • 65 Metascore
    • 83 Reviewed by
      Ty Burr
    For a movie that's mostly a plotless mix of old sci-fi flicks and Bowie-esque gender-bending, Rocky Horror continues to charm. That's due in part to the honest delight we take in the freedoms this movie so cheerfully flaunts.
  17. Arnold Schwarzenegger appears as the rare politician who supports reform in this timely exposé of how our democracy has slipped off its tracks.
  18. Deepens the saga of New York's former governor and attorney general into the paradoxical morality play it really was. Spitzer, almost three years after he was caught soliciting escorts, comes off as chastened but still regal, like a hawkeyed Jewish Kennedy.
  19. Terry Gilliam-ish territory here, spiked with imagery from Holocaust nightmares and drug trips. Attention, university film clubs: Here's your cult-ready midnight-movie programming.
  20. Paul Giamatti, dialing down his trembly-voiced neurotic energy to good effect, gives a holy hell of a performance as Barney Panofsky.
  21. These guys are not charming; they're horrifying in their ignorance, and they cause real damage. But there's a weird relief to be found in the opportunity to laugh ourselves sick at their expense, if only for an instant.
  22. If this is what it sounds like when a new millennium goes pop, I'll take it.
  23. A fine example of Danish filmmaker Susanne Bier's (Brothers) talent for weaving together accessible domestic melodrama and issues of ethical awareness of the world beyond our doorstep.
  24. High-octane trash, but you will go "Ohhhhhh!"
  25. Among all the chess-piece players on the board, the star is the only one who really builds a solid emotional foundation for his character.
  26. Graeme and Clive, representatives of a nation of nonbelievers in UFOs and big dinner portions, come to the psychic capital of a country that wants to believe, and they're transformed. In Paul, Simon Pegg and Nick Frost do likewise, in celebration of what the Spielbergian cosmos is all about.
  27. Hanna's intriguing, disorienting pleasures - the movie is part poetic dreamscape, part sinister spy saga - lie more in the filmmaking flourishes than in the narrative.
  28. Not coincidentally, African Cats opens on Earth Day. Meeting these magnificent fellow creatures might be a fine way to celebrate.
  29. The observations about parenthood, pro and con, are quick and smart, and Scott effortlessly steals the show, softening Westfeldt's brittle cuteness.

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