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 comedic slaps are too limp to leave a mark. Director George Ratliff applied a much clearer eye to "Hell House," his chilling 2001 documentary about a real church.
  2. It is fun, though, 
 to see the younger Hanks play a murderer - it's like seeing Justin Bieber work blue.
  3. At 88 minutes, Tabloid is short and sweet (it's pure movie candy), but by the end we've forged an emotional connection to Joyce McKinney at the deep core of her unapologetic fearless/nutty valor. And that's what really makes a great tabloid story: It's a vortex that's also a mirror.
  4. In execution, it is charming...and also a little monotonous.
  5. The thrilling conclusion to a phenomenal cinematic story 10 years in the telling, Harry Potter and the Deathly Hallows - Part 2 is proof that authentic movie excitement is its own form of magic.
  6. Zookeeper (I can't believe I'm even writing this) is a dumbed-down "Paul Blart."
  7. A bouncy, well-built, delightfully nasty tale of resentment, desperation, and amoral revenge that does for employer-employee relations what Danny DeVito and Bette Midler did for the bonds of matrimony in the great 1986 Zucker brothers comedy "Ruthless People."
  8. Following 2009's "Bluebeard," French filmmaker Catherine Breillat continues her unique and psychologically, erotically daring deconstruction of classic fairy tales and the female condition.
  9. At least Carpenter the spook-meister knows how to goose you.
  10. A fascinating and in many ways tragic documentary, takes us back to one of the high-water marks of the apes-are-people-too era.
  11. Beats is a welcome blast of '90s nostalgia, taking us back to a time - and a sound - that pulsates with optimism.
  12. Undoubtedly a trifle, but it's still kind of nice for a summer movie to try charming us instead of just bludgeoning us into submission.
  13. For a while, the movie has a cat-and-mouse appeal - it's like "Hard Candy" crossed with a smaller-scale "Deathtrap." Pierce acts with an enjoyably testy flamboyance, but by the time he starts to imagine that his guests have arrived even though dinner's been canceled, the film has given him one loose screw too many.
  14. It's easy enough to accept the romantic-comedy luck of the two finding each another. It's much tougher, and ultimately useless, to buy everything else about this fairy tale of self-reinvention in a stalled economy.
  15. Dark of the Moon is hardly a fleet production, but here Bay makes his best, most flexible use yet of all the flamboyant bigness at his command: Computer-drawn characters and human actors seem to occupy the same narrative for once.
  16. Jig
    They're all fascinating 
 subjects - or would be if Jig didn't dance around their personal stories in favor of overheated waiting-for-the-scores suspense.
  17. The result is a portrait that expertly mirrors its subject: Buck is shaped with the same economy, restraint, and unfussiness as the man, to unexpectedly inspiring effect.
  18. Old Holden would call the whole movie phony, and I agree, if you want to know the truth.
  19. The film sweeps us up like a thriller, forcing us to at least ask whether terrorism like the ELF's (which targeted property, never human lives) might ever be justified.
  20. For those who wish to decode The Names of Love, there's a sharp commentary on French prejudices, character types, history, and culture embedded in Michel Leclerc's droll autobiographical French comedy.
  21. An 
unexpectedly revealing, disconcerting documentary that benefits from the filmmaker's unmediated approach, his home-movie-
quality visual style, and his controlled use of on-the-fly moments.
  22. A Better Life was directed by the eclectic Chris Weitz (The Twilight Saga: New Moon, About a Boy), who weaves the torpor and anxiety of immigrant life into something dramatically true, if at moments a bit draggy.
  23. Not to get all Dorothy about it, but when it comes to Cars, there's no place like home. The emotional punch of the original is inextricably rooted in the movie's appreciation of off-the-beaten-track America, and all that homegrown vintage car culture signifies.
  24. We're just watching a film try to pass off misanthropic blunt-wittedness as "edge."
  25. It's not quite the same thrill as glimpsing the man behind the curtain of the great and powerful Oz, but for journalism junkies, the fascination of Page One: Inside The New York Times is something like that.
  26. Reynolds makes Hal a perfectly functional comic-book hero, but there's a big difference between functional and super.
  27. If you can watch Popper's most trusted penguin finally get to fly and feel like you're soaring right up there with her, then you may just let this likable trifle whisk you back to childhood.
  28. The film is a bit too chronological, but its historical reverence is true to gospel's joyful insistence on locating the spiritual in the everyday.
  29. The movie's power is undercut by the overemphasized presence of celebrity traveling environmentalist Robert F. Kennedy Jr.
  30. It was an effective choice to shoot these majestic creatures vérité-style, with a jittery camera, but Trollhunter, unfortunately, is such an under-imagined knockoff of The Blair Witch Project that whenever the trolls aren't on screen, it verges on tedium.

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