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 2.2 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. Olsen, moody and apple-cheeked and intellectually avid, proves a true star: She turns being wiser than her years into an authentic generational state.
  2. Lindhardt, sweet and childish and achingly vulnerable, gives a stunning performance.
  3. The drama is so minimalist that it's hard to glimpse the man behind the woe.
  4. This feature-length dose of boyish sexual fumbling and fantastically dirty British slang is bound to expand an American viewer's vocabulary.
  5. The film doesn't turn its issues into a glorified essay, but it does use them to give the audience a vital emotional workout.
  6. There's a relaxed, unforced, melancholy sweetness and swing to this modest iteration of the "Big Chill/Return of the Secaucus 7" formula, a pleasing directorial debut for screenwriter Jamie Linden (We Are Marshall).
  7. Working from a script by his wife, Sarah Koskoff, "High Fidelity" actor-turned-director Todd Louiso shapes the movie to Lynskey's rhythms.
  8. Yet if Bachelorette takes the form of a romantic ensemble comedy, it's purged of any true romantic feeling. You'll laugh, maybe a lot, but you won't feel great about it in the morning.
  9. The trouble with Guillaume Canet's French gloss on "The Big Chill" is that it has no underlying chill.
  10. It's a lesson in character to hear directors from David Lynch (digital believer) to Christopher Nolan (celluloid diehard) spout off.
  11. 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.
  12. For a Good Time, Call... tells the tender tale of two roommates who team up to launch a phone-sex line. Whatever their virtues or flaws, each of these movies makes the dirtiest episode of "Sex and the City" look like Doris Day fluff.
  13. Hardy, speaking in low, flat, almost musically macho tones, has the bruiser charisma of a caveman Kevin Costner. It's not the money he's clinging to - it's the freedom.
    • 32 Metascore
    • 91 Critic Score
    Parents who have had to sit through a myriad of mindless kids movies will appreciate a chance for their kids to be themselves at the theater and to be silly right alongside them. On the whole, it can serve as a good introduction to the movie-going experience.
  14. With more telegraphed scares than Samuel Morse on Halloween, it still might give you a restless night, but only because you fell asleep in the theater.
  15. Premium Rush earns its place as end-of-the-summer escapism, but I can't say that it's more than a well-done formula flick. At this point, it's just one more movie-as-ride. But this one at least lives up to its title.
  16. Robot & Frank is sentimental high-concept fluff that works.
  17. Lauren Ambrose is lovely as the girlfriend he's a fool to lose but seems intent on losing anyhow.
  18. Adapting Satrapi's graphic novel about a violinist (Mathieu Amalric) in late-1950s Tehran who's got a broken fiddle and a broken heart and takes to his bed, willing himself to die, the filmmakers rely on expressive eyes to carry a narrative style suitable for a silent movie.
  19. The dialogue veers into digressions about ADHD, the cruddiness of mainstream dog food, and much else. That these asides prove more fun than the central action is what gives Hit & Run its flavor: tasty at times, even if the film evaporates as you watch it.
  20. Sparkle is never more than an overheated mediocrity. The one thing it isn't, however, is dull.
  21. What a fun-dumb relief! In the isolationist Expendables world, all foreigners are bad news. All buddy bonding is done with a wink. All pretenses of art are checked at the door. Someone even says, ''I'll be back.'' (Guess who?)
  22. The movie should have been called Diary of a Wimpy Forrest Gump. It's genuinely soft-hearted (you're all but guaranteed to cry) but mush-brained, too.
  23. Red Hook Summer has some fantastic gospel numbers, but as drama it's a casserole that never comes together.
  24. Ellis (The Good Wife's Graham Phillips), an alienated teen, smokes weed and hangs out with a goat-obsessed, pot-cultivating surrogate father (David Duchovny, hidden by hair). New Age details aside, though, Ellis is easily identifiable as a distant cousin-by-genre to J.D. Salinger's Holden Caulfield.
  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. With a slow, relentless buildup focused on sexual humiliation, Compliance intensifies the "requests" put on Sandra, and eventually other employees, to behave immorally in the name of cooperation.
  27. Not to be confused with a dramatization of Kate Chopin's great 1899 proto-feminist novel, this by-the-numbers British ghost story, set just after WWI, devotes a lot of energy to set decoration.
  28. The film comes off as an elaborately didactic and overheated lecture.
  29. The story may be thin, but the project, a feat of stop-motion animation, is made with generous care by the same impressive LAIKA studio artists who conjured up the gorgeous "Coraline."

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