Entertainment Weekly's Scores

For 5,962 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 3.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Moonlight
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5962 movie reviews
    • 34 Metascore
    • 58 Reviewed by
      Ty Burr
    As the supporting cast gets winnowed away, though, we're left with a cat-and-mouse game between girl and murderous faux-dad that's simply boilerplate.
  1. Petersen gives us monumental images of waves and rain and wind, but the editing is so choppy that the images don't build and crest.
  2. When the movie occasionally does confront its hero’s foibles, its answers are disappointingly pat.
  3. The movie works hard -- desperately hard -- to be all things to all audience segments. And the visible effort erodes the sense of gaiety, of unfettered fun.
  4. Most of the movie feels like Farrell's performance: deeply sincere, and more showy than convincing.
  5. It doesn't take long for the film to devolve into a ludicrously far-fetched Celebrity Death Wish.
  6. Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
  7. Technical elegance and fine performances mask the shallowness of a story as simpleminded as the '50s TV to which it condescends; certainly it's got none of the depth, poignance, and brilliance of "The Truman Show," the recent TV-is-stifling drama that immediately comes to mind.
  8. Still, just about everything in Goldeneye, from its rote nuclear-weapon-in-space plot to the recitation of lines that sound like they're being read off stone tablets (''Shaken, not stirred!''), has been served up with a thirdhand generic competence that's more wearying than it is exhilarating.
  9. It's a jerry-built kick-ass insult machine assembled entirely out of secondhand parts.
  10. As Nomi, Elizabeth Berkley has exactly two emotions -- hot and bothered -- but her party-doll blowsiness works for the picture.
  11. Winfrey's performance is full of stoic anger, and individual moments have ferocity and pull, yet you're always aware of them as moments.
  12. That The Big Kahuna is hardly more than a sketch or curtain-raiser is not the fault of the play in itself -- it's short-film size, not feature-worthy.
  13. The action climax just goes on and on, making The Lone Ranger the sort of movie that delivers too much too late and still manages to make it feel like too little.
  14. In all, Hanks’ casting feels like a missed opportunity—much like the rest of Ithaca.
  15. The overall effect is less titillating than numbing.
  16. Gyllenhaal’s Southpaw performance is great, but for reasons unrelated to his physique. He’s thrilling to watch and the only unpredictable thing in a two-hours-plus movie where you can count on one hand the number of moments that aren’t hand-me-downs from better boxing films like "Rocky," "Raging Bull," and "Fat City."
  17. Too many moments of evident labor weigh this clever production down. To quote the playwright: ''Your wit's too hot, it speeds too fast, 'twill tire.''
    • 53 Metascore
    • 58 Critic Score
    The cast, all around, is sterling. There's only one thing they don't need to bring back for the sequels, and that's the movie's appetite for every sports cliché there ever was.
    • 59 Metascore
    • 58 Critic Score
    One more feel-great sports movie with a teen-poetry title and Kurt Russell will have himself a trilogy.
  18. Our senses may be the stuff of drama, but not when they're treated as nice and neat as this.
  19. How brazenly can one film rip off "Alien," "I Am Legend," and, somewhat oddly, "The Poseidon Adventure"?
  20. At a time when the budgets for sci-fi films are, like the universe itself, expanding at an astronomical rate, Riddick decides to go small.
  21. The new Arthur is a feathery screwball satire, competent on its own terms, yet as the movie went on I found it increasingly hard to separate the character's self-indulgence from that of the actor playing him.
  22. There’s a real spark to Connery’s performance, but except for that Kaufman has produced a middling contradiction, a thriller too polite to hit its target.
  23. No matter what panache Bier adds, Things We Lost is still a TV-scaled tear-duct drama about a beautiful woman who pushes past sadness in her House & Garden home.
  24. Among its better tricks, Matrix Revolutions finally gets the love-story subplot of Neo and Trinity in the right proportion.
  25. There's not a guy I know who hasn't been looking forward to seeing The Rock pick up the big wooden stick first swung by Joe Don Baker more than 30 years ago.
  26. Director Tina Gordon Chism keeps the innocuous class-meets-crass jokes bubbling, and the actors are amiable, but Peeples often seems to want to turn these characters into benignly goofy role models. Maybe that's why the basic comic collision never explodes.
    • 65 Metascore
    • 58 Critic Score
    It's earnest, solemn stuff. The movie sings an old tune -- Albert Finney is the blind minister who wrote the title ditty -- and it leaves the blood unstirred.

Top Trailers