Entertainment Weekly's Scores

For 6,163 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Pariah
Lowest review score: 0 Bless the Child
Score distribution:
6163 movie reviews
  1. Really, about all that unifies the movie is its inclination to turn little people's dreams into limply ''affectionate'' camp.
  2. Drips along about as slowly as a polar ice cap and leaves both those who know the international thriller on which this creepy-doings-off-the-coast-of-Greenland yarn is based and those who don't out in the cold.
  3. 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.
  4. Has the look of a great fairy tale -- all that's missing is the tale.
  5. As long as Norton plays Harlan as a modern-day Joe Buck, a kind of four-in-the-afternoon cowboy, we're drawn by his waltz of innocence and vagueness. But Down in the Valley turns out to be one of those films with a thick, gummy overlay of Western ''mythology.''
  6. I Think I Love My Wife has got to be the unlikeliest French New Wave classic ever to be retrofitted by a famous African-American stand-up comedian best known for his stinging social commentary -- at least until Dave Chappelle remakes Jean-Luc Godard's "Breathless" as a hip-hop caper.
  7. Has the dubious distinction of being just about the mildest porno comedy ever made. It's like something the teenage Pedro Almodóvar might have written to shock his 10th-grade creative writing teacher.
  8. What feels enjoyably outré in the 1998 coming-of-age novel by Jonathan Ames (creator of HBO's Bored to Death) feels oppressively outré in this deadened, literal adaptation.
  9. The best bits are incidental: Vaughn's chats with Jon Favreau as his bartender buddy, which are delightful interludes of jostling ego, and Judy Davis, looking like Anna Wintour redesigned by Tim Burton as an undead marionette, laying down the law as Aniston's boss.
  10. The animation in Lilo & Stitch has an engaging retro-simple vivacity, and it's nice to see a movie for tots make use of Elvis Presley, but the story is witless and oddly defanged.
  11. The umpteenth recycled shocker about a mystical dark child with an aura of disaster.
  12. It's no accident that portions of Six Days mildly echo some of Ford's most popular films, from "Raiders of the Lost Ark" to "Working Girl."
  13. Theron is an arresting image, but, like everything else in Aeon Flux, she's stranded in a trashy and derivative glum zone of fashion-runway fascism.
  14. A genially cruddy B movie can sometimes go places - sort of - that bigger movies won't.
  15. Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
  16. Between cycles of gunfights and glowering, Yun-Fat displays some of the dignity and suave good looks that account for his star status (without much chance to show his wit).
  17. A hypercaffeinated first-person action flick that teeters somewhere between gonzo insanity and a nausea-inducing endurance test.
  18. A so-so meditation on historical amnesia. It’s also so weighted down with mysticism and metaphor it forgets to quicken your pulse or whiten your knuckles.
  19. The number of levels on which these pros trade on their diminished reputations makes the movie an inside joke rather than a funny one. If Spade thinks otherwise, he's nucking futs.
  20. The movie is overplowed, even if Brad Pitt's debut as a Coen comedy player is eye-catching.
  21. Honestly, I’ve seen more narratively ambitious Mad Libs.
  22. Welcome to the Jungle isn’t a bad movie. It’s a diverting, mildly amusing, competent bit of big-budget studio product. And maybe those are the stakes we’re now playing for these days.
  23. The balance of inspired idiocy to hackneyed buffoonery is out of whack.
  24. A drama about corruption in the city's transit system that's not only hard boiled but also dipped in egg batter dialogue and deep fried.
  25. A wildly romanticized Australian druggie drama.
  26. The trouble with The Truth About Charlie is that it really is after the truth about Charlie, a character we could hardly give a damn about. The only charade is the illusion that we might actually be entertained.
  27. The only saving grace is Chris Pratt as Vaughn's deadpan best friend.
  28. When we finally do see what happened, it's a genuine shock, a nightmare vision of a hedonist who forged his own hell.
  29. A feel-good movie that never stops feeling good. The film is based on a true story (it was adapted from a nonfiction best-seller by Michael Lewis), but you never feel that Hancock has honestly captured what's true about it.
  30. Still, it's refreshing that the animals don't talk.

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