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. A lot of fun early in the evening, when the Rat Pack ambiance is novel, but gets bleary by 4 a.m. in the story.
    • 69 Metascore
    • 100 Critic Score
    It's all somehow both familiar and dazzling, just as Ricci's kidnapped tap student, forced to pose as the protagonist's wife for his horrifically indifferent parents, is somehow both nondescript and heartbreaking.
    • 69 Metascore
    • 91 Reviewed by
      Ty Burr
    Paul and Mary Bland stop at nothing to open a restaurant in Paul Bartel’s scabrous black comedy.
  2. This is no real-life comedy à la "Election" -- more like a valuable, teen-scaled version of the presidential election that currently obsesses us.
  3. Writer-director Jeff Baena adapts parts of Boccaccio’s Decameron into an absurd and hysterical tale of nuns gone wild.
  4. The specificity with which Khaou portrays this beautiful place, evolving beyond its traumatic history but never forgetting it entirely, is what makes Monsoon so piercing.
    • 69 Metascore
    • 75 Critic Score
    Still, the picture remains the only ”feel good” movie of the entire Cold War corpus.
  5. Duplicity doesn't have depth -- but it does have Julia Roberts, in full Hollywood movie-star mode.
  6. The always surprising Watts creates a woman at once contemporary and retro. And Norton, as a producer as well as star, concedes enough space for Schreiber and the effortlessly fascinating Jones to earn their own spotlights.
  7. It
    It is essentially two movies. The better by far (and it’s very good) is the one that feels like a darker Stand by Me — a nostalgic coming-of-age story about seven likable outcasts riding around on their bikes and facing their fears together... Less successful are the sections that trot out Pennywise. The more we see of him, the less scary he becomes.
  8. What starts off as a promising indie about a couple (Jake Johnson and Rosemarie DeWitt) trying to balance their own needs versus their partner’s quickly goes south in director Joe Swanberg’s latest meditation on aging-hipster malaise.
  9. Darkly funny, twisty-cool existential tragicomedy, loaded with smart notions and filmed like a surrealist dream.
  10. Still, there's a sort of willful energy field between Giedroyc and Feldstein that pushes the story along; the blithe, anything-can-happen thrill that comes from being young in a world where anything is possible — including the right to wreck yourself spectacularly, rebuild, and then start it all over again.
  11. The movie is juicy fun, a high comedy about the personality of power.
  12. Diverges to become something quite powerfully unnerving and guilt-ridden.
  13. Following 2009's "Bluebeard," French filmmaker Catherine Breillat continues her unique and psychologically, erotically daring deconstruction of classic fairy tales and the female condition.
  14. In a staring contest with his audience, Solondz never blinks. He picks and picks at the themes that consume him, and he doesn't care who stays and who leaves. Me, I'm rapt.
  15. To take the playfully convoluted, semi-nonsensical aggression of Rumsfeld's language and make it the whole point of a movie is to fall into the trap of mistaking the spin for the story.
  16. For all its wispy fun, Small Time Crooks still tilts, with little-guy stubbornness, at windmills in Allen's mind.
  17. Ang Lee's bloody but dramatically anemic depiction of the American Civil War as fought by boys without uniforms.
  18. A traffic map of calls and responses, lessons and homework, wishes and fulfillment. All roads lead to acting-award nominations, but none lead to truth.
  19. The movie’s premise has trouble sustaining a feature-length running time, getting mired in repetitive jokes and a third-act swing into harder-core suspense that never really connects.
  20. This is a pretty, surface-y documentary rather than the kind of exciting one Vreeland would have demanded, declaring, "You gotta have style!"
  21. Sure, showing that girls can be as horny and impulsive and raunchy as guys isn’t exactly the most radical statement. But when it’s done this well, it certainly is a welcome change-up.
  22. In a world that seems to get uglier every day, this movie’s gentle heart and mere humanity feel like a salve.
  23. If Big Star: Nothing Can Hurt Me leads even one person to listen to Big Star for the first time, this movie will have done a great service.
  24. Boy Erased is the kind of topical, well-intentioned movie that makes you wish it was slightly better than it is.
  25. In terms of storytelling, The Avengers is for the most part a highly functional, banged-together vehicle that runs on synthetic franchise fuel. Yet the grand finale of CGI action, set in the streets of New York, is - in every sense - smashing.
  26. What is surprising is how little Polanski juices the material with his usual devilish touch.
  27. Barton Fink has an atmosphere of languid comic anxiety (it's like a cross between "Eraserhead" and "Angel Heart"), and it's fun to watch, if only because you have no idea what's coming next.

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