Entertainment Weekly's Scores

For 6,230 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 Trainspotting
Lowest review score: 0 All the Queen's Men
Score distribution:
6230 movie reviews
  1. There are two sparks of light amid the trifling dialogue and bad faux-'80s love-on-the-beach montages in Havana Nights, and they are the film's costars.
  2. Only pretends to care about good people who sometimes do bad things. In fact, it hasn't got time for the pain.
  3. You’d hope that a film like this could put a bold new spin on the superhero story. The reverse is true: Here we are in 2017, and even our nifty low-budget crime movies are building a cinematic universe, and saving the best stuff for the sequel.
  4. The whole movie is pat -- very pleased with itself for being so up front about the ways of a 21st-century man-whore.
  5. Moretz, who is 16 now, can't manufacture the same that's-so-wrong jolt she managed the first time around. Back then, it was hilariously taboo to see a little girl spout arias of profanity. Now, she's just another teenager swearing. Like the rest of the film, what was once shocking now just elicits a shrug.
  6. While we can agree, for the sake of Iberian-American cinematic friendship, to go along with the whole simplified 1960s swinger premise and ''The Jackie Gleason Show'' choreography, we can also long for the comparatively nuanced 1990s swinger premise of ''Friends.''
  7. In stories like this defiantly unsubtle, structurally clunky specimen, causes women who are considering abortion to think again, and self-selecting audiences to enjoy a light, luxurious weep.
  8. It's all very sub-Tarantino showy and empty - at least, until the head-scratching climax, which tries to be "Eyes Wide Shut," "The Wicker Man," and "The Twilight Zone" all at once, but only makes you wish that you were watching one of them instead.
  9. Marvel at the fact that something this trippy made it to our local multiplex.
  10. Daybreakers turns?into a ponderous apocalyptic chase film -- it's like "Children of Men" with exploding-plasma shock effects.
  11. Look for bloody axes, grotesquely disfigured zombies, and creepy visions — much of it bloatedly self-indulgent and a small part wicked funny about the influence of guys like Stephen King/Sutter Cane who write words read by people who don’t read anything else, or maybe don’t read at all but only go to movies like this one.
  12. The movie is stiff-jointed and dull.
  13. Though the filmmaker's feel for his Cuban heritage is bone-deep, it's a glazed and dolorous movie - a depressed epic.
  14. The trouble with Giuliani Time is that Keating, as a filmmaker, wants to give power to the people but in his every perception he takes it away from them.
  15. Operates on such outdated, unimaginative conventions of movie chemistry that Moore and Brosnan end up appearing older and stodgier than necessary.
  16. The role of a former star of the "golden age" of porn sounds perfect for Kim Cattrall, and she handles it nicely - at least, in the rare moments when this indie comedy isn't terminally contrived.
  17. Denzel Washington, by now, could do this sort of role in his sleep.
  18. To call Lukas Moodysson's A Hole in My Heart the feel-bad movie of the year would be an understatement -- it's the feel-sick movie of the millennium.
    • 51 Metascore
    • 50 Critic Score
    A tame, vanilla whimper of a period drama begging for a better treatment in more assured hands.
  19. Deeply odd films are often deeply personal ones, and Constellation, a dazed, inchoate drama about a mixed-race Alabama family, tells a story that's clearly close to the heart of writer-director Jordan Walker-Pearlman.
  20. Schwarzenegger, for one, seems to be having a hoot.
  21. Grace Is Gone grabs on to a name, a war, and the metaphor-come-to-life of a theme park with rides going nowhere. And we, the people, are spun around and shaken for tears.
  22. Once again, the shaky handheld camerawork in the battle scenes don’t portray chaos so much as a sense that the cinematographer was being attacked by desert bees
  23. Jolie, in this movie at least, has exactly two expressions: blank wistfulness and blank dismay. She reduces the tides of history to one more raided tomb.
  24. The movie has the structure of a madcap romantic chase without the wiggy, busting-out freedom.
  25. Permanent Midnight never shows us who Jerry Stahl was before he began shooting junk, and so we have no real stake in what the drugs did to him. He’s a case study in search of a movie.
  26. Bay doesn't stage scenes, exactly -- he stages moments.
  27. A ''fun trash'' movie that's more trash than fun.
    • 32 Metascore
    • 50 Critic Score
    This Styrofoam snowman of a sequel overdoses on its own candy-cane-colored sugary cheer.
  28. Land of Mine is essentially bomb porn.

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