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. The editing in Battlefield America is super-speedy: Each shot lasts about three seconds, and then it's off.
  2. Trier's compassion for what it takes to survive, mixed with the love he bestows on Oslo, is rewardingly profound.
  3. For some viewers, Moonrise Kingdom may be movie heaven, another bric-a-brac-jammed bauble to place alongside "The Life Aquatic With Steve Zissou" and "The Darjeeling Limited." Personally, though, I wish that Anderson would come out from under the glass, or at least change what he's doing under there.
  4. MIB3 is one giant leap for mankind because Josh Brolin shows up to play the younger Agent K. And he just nails the feat, triumphantly creating a riff on/homage to the Tommy Lee Jones-ness of K that goes much deeper (and funnier) than a simple imitation of drawl and speech patterns.
  5. The film can be rambling and glib, yet it's no mere crime drama. It captures a middle-class French society that looks more humane than ours, but is just as messed up.
  6. The best thing about the movie is that it keeps drawing conclusions in opposite directions.
  7. Whenever Rupert Everett appears as a rich fellow who distinctly does not fancy ladies, it's a hysterical history lesson of the hilarious variety.
  8. As sociology, it's skin-deep, but if you're a parent or preparing to be one, you might see yourself in a few of these folks and have a good time doing so.
  9. Battleship is a sound vessel floating in Hollywood's oil-slick sea of "Transformers" sequels and vampire riffs.
  10. What's shocking this time is how tame Sacha Baron Cohen's newest wild man is, for all the kerfuffle the comedian can stir up on the ­promotional trail.
  11. This inauthentic teen tale, with its cosmetically softened edges, serves neither the young people nor the Mendes fans for whom it might be intended.
  12. The movie gets mired in these deceptive mechanics. It shows no curiosity about the hatred, so the characters seem less than whole.
  13. Bobcat Goldthwait's new movie is a burlesque that turns into a harangue that turns into a rampage.
  14. As with his previous film "Fireflies in the Garden," writer-director Dennis Lee scratches the skin of family bonds until it bleeds. This time, he uses whimsy as a salve.
  15. Writer-director Gérald Hustache-Mathieu sustains a fresh voice influenced by the Coen brothers and the infernal snow of "Fargo."
  16. Depp's performance is more than just funny - it's ghoulishly endearing.
  17. The film, devising events that led up to his mysterious death in 1849, is also the most gruesomely literal-minded of period detective stories.
  18. Terminal colon cancer has never looked more fetching than in the critically ill romantic-disease comedy A Little Bit of Heaven.
  19. Marigold Hotel achieves what it sets out to do: Sell something safe and sweet, in a vivid foreign setting, to an underserved share of the moviegoing market.
  20. 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.
  21. Safe has more action than intrigue (or logic), and it's boilerplate vicious. It may satisfy Statham's fans, but they - like he - would do well to enlarge their expectations.
  22. 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.''
  23. All those twangy, homespun observations interrupt and annotate the narrative until Black and MacLaine's scenes start to feel as trivial as reenactments on a true-crime TV show.
  24. You can almost smell the brine in the boat helmed by Pirate Captain (Hugh Grant) on his quest to win Pirate of the Year.
  25. A lively, original, and scattershot-hilarious ramble of a Judd Apatow production.
  26. Filmmaker Greg MacGillivray, a specialist in gigantic-screen nature movies including "The Living Sea," is up to date in his use of 70mm IMAX film, but he's stuck in the past about how to tell a story.
  27. The Lucky One doesn't have the schlock rapture of "The Notebook" (the one Sparks adaptation that has really worked). The trouble with the movie isn't that it's too girly-swoony; it's that it tries to achieve emotion through glowy sunsets and a paint-by-numbers script.
  28. Her (Harron) torpid adaptation of Rachel Klein's novel about female sexual desire, jealousy, death wishes, and vampires at a girls' boarding school defeats Harron's talent for exploring darkness on the edge of kinkiness.
  29. Lawrence Kasdan's comedy strikes a note of rib-nudging blah coyness that feels very 1987.
  30. Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.

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