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. This gripping if tamped-down drama is steeped in ancient Albanian culture, where the real, tragic consequences of blood feuds can keep families trapped in their homes for generations.
  2. A great many filmmakers — too many — use handheld cameras to evoke a sensation of raw, this is really happening immediacy. But director Paul Greengrass is unique. At a glance, his live-wire, ragged-camera method may seem overly familiar, but the way he employs it, that method is as expressive as the style of a superb novelist.
  3. The new Evil Dead's delirious gross-out scenes spoke to me, and they go further than any mainstream picture I can think of.
  4. In our summertime-movie world of aliens and superheroes who look all too familiar, Dodge and Penny look all the rarer in their precious humanity.
  5. Won't Back Down says that whatever your feelings about the subject, lack of change cannot be the answer to our public-education crisis. Trying to cram an informational exposé and a vintage inspirational awards-bait weeper into one movie, Won't Back Down is awkward at times, yet it's also passionate in a surprisingly smart way. It makes a genuine drama out of impossible issues.
  6. Throw in a nagging divorce settlement, an unplanned murder, and Billy Crudup - hilarious! - as a raging security man, and Jill Sprecher's film enjoyably fuses cleverness and sheer desperation.
  7. A denouement more textbook than thrilling stalls some of the movie's power. But the early chills are potent, intense.
  8. This strong, assured Band of Brothers-style drama from director Jang Hun makes universal points about bonding, misery, loyalty, and the senselessness of war through a portfolio of soldiers.
  9. Sound of My Voice doesn't follow through on everything it sets up, yet it has a hushed and revealing psycho-intensity. It also has an oh-wow Twilight Zone ending that truly made me go, ''Oh, wow.''
  10. 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!''
  11. This is a tough-minded story of change that happens in almost imperceptibly tiny increments - as true growth so often does in reality.
  12. An energetically demented psycho-killer comedy set in faux-noir L.A., Seven Psychopaths rollicks along to the unique narrative beat and language stylings of Anglo-Irish writer-director Martin McDonagh (In Bruges), channeling Quentin Tarantino.
  13. Ruby Sparks is a romantic comedy that takes off from a premise so fanciful it needs every bit of the freshness that Dano brings it.
  14. Frozen is a squarely enchanting fairy tale that shows you how the definition of what's fresh in animation can shift.
  15. The creators of Captain America: The Winter ­Soldier have brought off something fresh and bold.
  16. 42
    Helgeland works in what I think of as a conservative — or maybe it's just really, really basic — neoclassical Hollywood style, spelling everything out, letting the story unfold in a plainspoken and deliberate fashion, with a big, wide, open pictorial camera eye. It's like the latter-day Clint Eastwood style, applied to material that's as traditional as can be.
  17. Side Effects is mostly a good Saturday-night movie, but by the end, it's caused a few unintended side effects of its own: a bit of head-scratching, and a giggle or two of disbelief.
  18. Robot & Frank is sentimental high-concept fluff that works.
  19. The best thing about the movie is that it keeps drawing conclusions in opposite directions.
  20. The Sessions is first and foremost about Hawkes' virtuoso performance, one of those "My Left Foot"-y transformations that make audiences verklemmt and generate awards talk.
  21. The intense interviews and damning statistics (20 percent of all female personnel have experienced sexual assault) do the work of whipping up outrage.
  22. Not surprisingly, the best thing about Days of Future Past is that it's heavier on the days past than future.
  23. A sequel that easily tops its 2011 predecessor.
  24. The movie is fascinating, though it smacks its own lips a bit too much at the tackiness of freak '70s stardom.
  25. It's a pleasure to meet up again with Marion, the distractible, acerbic, New York-based French photographer played once more by Julie Delpy in 2 Days in New York. This bouncy hand-knitted comedy of cross-cultural relationships, also directed and co-written by Delpy, makes a jaunty sequel to "2 Days in Paris."
  26. Cloud Atlas is certainly out to be a ''visionary'' mindbender, but the film's secret is that it's a nimbly entertaining and light-on-its-feet Hollywood contraption, with the actors cast in multiple roles as if playing a game of dress-up.
  27. Working from a script by his wife, Sarah Koskoff, "High Fidelity" actor-turned-director Todd Louiso shapes the movie to Lynskey's rhythms.
  28. In his elliptical and somewhat loopy drama about the slipperiness of love at any age, French filmmaker André Téchiné uses the sight of scudding motorboats on the waterways around workaday Venice as a visual reinforcement of time as a river.
  29. These movie guys specialize in snapping vignettes of human inconsistency - no fancy lighting required.
  30. An alienated-teen movie that surfs along on the whims and casual cruelties of its central character runs a risk: It can wind up as random and undisciplined as she is. Instead, Little Birds is a touching and distinctive achievement.

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