Entertainment Weekly's Scores

For 5,989 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 3.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 He Named Me Malala
Lowest review score: 0 Even Cowgirls Get the Blues
Score distribution:
5989 movie reviews
  1. Just when you think you know where Burnt is headed, there’s an underhanded twist about halfway in. And it’s almost enough to set the movie right.
  2. Collapses into the most generic sort of teen movie-ville, just at the moment it's convinced you that its lightly appealing stars are capable of better.
  3. Glazed over by its worship of Che Guevara.
  4. A shaky piece of work, with stumpy cinematography, choppy edits, speechy dialogue, and loose plotlines. And yet: There's an easygoing authenticity to the depiction of Kenya and her world that coexists with the picture's many weaknesses.
  5. While this religio-horror effort does contain some nice scares, and a memorably unnerving turn from Crowley, The Devil Inside's biggest shock arrives when it abruptly ends - just as it hits its stride. The result is a found-footage movie whose third act remains missing.
  6. It seems only fitting that the flavorless Guttenberg would land in this smooth tapioca concoction, but Alley deserves better.
  7. Which stinks worse? The absurdly large pile of red herrings Gone amasses? Or the film's sub-Scooby Doo conclusion?
  8. A big, dumb, crude, noisy, goose-the-audience bash and proud of it. It's not nearly as unsettling as ''28 Days Later.''
  9. 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.
  10. The other thing The Thing has got going for it is a welcome hint of dour Scandinavian sensibility sneaked in by director Matthijs van Heijningen Jr. whenever there's a pause in the unexceptional antics of aliens consuming humans.
    • 48 Metascore
    • 58 Critic Score
    The problem with Martian Child is that it wants to be a story about outcasts, but Dennis doesn't come off as a cute little rebel.
  11. W.
    The intrepid one is the outstanding Josh Brolin, who does such a phenomenal job in the title role that he carries every scene he's in to a place of subtlety and integrity far beyond what Stone needs to make his attention-grabbing noise.
  12. Noah is a movie about big ideas (environmentalism, heavenly obedience versus earthly love) and even bigger directorial ambitions (how to tell a personal story on the grandest of grand scales). But, in the end, it's also a disappointment. Maybe not one of Biblical proportions, but a disappointment nonetheless.
  13. One Missed Call is so unoriginal that the movie could almost be a parody of J-horror tropes, yet Miike, for a while at least, stages it with a dread-soaked visual flair that allows you to enjoy being manipulated.
  14. At its best when it drops any pretense of plot for sheer goof (as when a Japanese sightseer belts ''Sister Christian'' on a karaoke tour bus), and at its worst when Lawrence manages to out-ham even his porky four-legged costar.
  15. Guess Who, with its PG-13 putdowns, turns into the kind of love story that Hollywood feels most comfortable with: a buddy movie, salt-and-pepper variety. All that's missing is the cop car.
  16. Figgis never frees the play enough from the stage to fill the screen.
  17. Alas, the flimsy plot -- less a whodunit than an isn't-it-screamingly-obvious-that-that-guy-done-it! -- will have thriller fans singing the blues.
  18. Lawrence, as always, exerts the appeal of a con man too lightweight to buy into his own con. He'd be funnier, though, if he didn't insist on being the only funny thing in the room.
  19. It's no exaggeration to say that the actors have less personality than the pipes, nail guns, grinding gears, decaying beams, and slowly spreading oil spills that are fused, with a kind of empty-dread technical precision, into Rube Goldberg torture devices.
  20. Proof that a thriller can be sleekly shot, expertly cast, paced with crisp professionalism...and still be a letdown if its twists and turns hold no more surprise than yesterday's weather report.
  21. The sequel still manages to walk the tightrope between clever and crass. For a while, at least.
  22. Here's yet another self-consciously ''Almodóvarian'' confection, studded with small odes to the glory of self-creation.
  23. Boy's premise reeks of stalker-movie mothballs, and it's too timid to fully dive into the high camp it hints at. Instead, this cookie just crumbles.
  24. It’s never pushed far enough. Instead, Dark Places just becomes an overstuffed, low-simmer potboiler with too many improbable detours and overly convenient twists.
  25. A movie in which laughter and self-exploitation merge into jolly soft-porn ''empowerment.''
  26. A symbol of the lost father, it looms, protects, and also wreaks havoc when a big branch collapses onto the house. Mostly, it's the expression of a movie that's content to stand still.
  27. It's as if, in exploring the scars that shape these personalities, Téchiné has forgotten to color in the flesh.
  28. An overstuffed, unengaging drama that makes time for a love triangle.
  29. With Green Zone, though, the malaise has finally hit me. So while Damon's Miller uncovers the (inconvenient) truth of why the U.S. invaded Iraq in 2003, all I want to know is: How does he suggest we get out?

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